In the 1970s, Robert Ryman's artistic practice continued to evolve, deepening his exploration of the materiality of paint and its interaction with various surfaces. This period saw Ryman increasingly focusing on the physical presentation of his work, often affixing his paintings directly to the wall using metal brackets designed specifically for each piece. This method of presentation, utilized from around 1975 to 2003, emphasized the artwork's relationship with its immediate environment, pushing the boundaries between painting, sculpture, and architectural space​ (Wikipedia)​. Ryman's work during this era is characterized by a rigorous examination of painting's fundamental aspects—how to paint rather than what to paint. His attention to the process of painting itself—applying paint across a surface to convey an idea or sensation to the viewer—became a hallmark of his approach. Ryman's interest in the texture, scale, and support of his works, along with his use of predominantly white paint on square surfaces, allowed for a rich variety of expressions within a seemingly limited set of parameters. Despite the monochromatic appearance, Ryman's pieces are far from uniform; the subtleties of texture, tone, and shadow play significant roles​ (Dia Art Foundation)​. By the late 1960s and into the 1970s, Ryman had established a distinctive visual language, exploring not only the qualities of white paint but also the effects of different supports—canvas, metal, paper, plastic, and wood—on the perception of his works. His choice of materials and the careful consideration of how his paintings were mounted and viewed in space underscored his belief in the inseparability of an artwork from its context. Ryman's innovative practices during this period not only challenged traditional notions of painting but also contributed to the broader discourse on minimalism and conceptual art​ (Wikipedia)​​ (Dia Art Foundation)​. Ryman's work in the 1970s exemplifies his commitment to exploring the essence of painting, focusing on the act of painting itself as a means of expression. His experiments with form, material, and installation practices during this decade cemented his legacy as a key figure in post-war American art, influencing subsequent generations of artists and the development of minimalist and conceptual art​ (Wikipedia)​​ (Dia Art Foundation)​.