1970 were named for the brand of fiberglass upon which the smaller pieces in this group were painted. Some of the 12-foot square paintings from the series were executed not on fiber-glass but on cotton or linen. In each of these works the pigment appears to form a membrane over the support due to the differing degrees of opacity and translucence in the white paint juxtaposed with areas where less of it has been applied, leaving the fabric exposed. These disruptions in the painting’s skin often mark the literal pauses between the artist’s working sessions. From around 1975 until 2003, Ryman often affixed his paintings to the wall with metal brackets. He would design each set of brackets specifically for each piece and have them constructed by a local metals fabricator. Prints and Drawings Although Ryman is most known for his paintings, he also experimented with printmaking creating etchings, aquatints, lithographs, silkscreens and relief prints. Like his paintings, his prints are readily identifiable by their predominantly square monochromatic surfaces exploring the values, textures and effects of various whites and other colors printed on paper and aluminum. His prints and works on paper, have not yet been given the same attention, but his approach to making prints and drawings is the same. Working with the particular characteristics of each medium and process, Ryman, from 1969 onwards, explored new territory of making editions, all with a minimum of materials. In his printmaking, Ryman sought to control the texture of his surfaces in ways that he would continue to explore for the rest of his career. As in his paintings, his prints require viewers to pay attention, look closely and observe subtleties. Ryman’s prints both challenge a viewer and reward close looking. He stated that his titles were meaningless, and that they only existed as a form of identification. Ryman actually preferred the term of "name" for an artwork instead of a title because he was not creating a picture or making reference to anything except the media and the materials. The "names" of his works often come from the names of art supplies, companies, or are just general words that do not carry specific connotation. Exhibitions Ryman had his first solo show at Paul Bianchini's gallery, New York City, in 1967 at the age of 36; his first show in Europe came the following year at the Galerie Heiner Friedrich, Munich. One