Support: The support is processed linen, 2 x 2 basket-weave canvas stretched over a replacement, turn-buckle, expansion wood stretcher. The original tacks were replaced and augmented when the work was re-stretched over the expansion strainer. According to historic conservation records, the work was possibly re-stretched in 1961.

Ground or Support Preparation: The canvas was prepared by the artist, possibly with the help of a studio assistant. The canvas appears to have been sized with a dilute rabbit-skin glue or other protein-based size, followed by alternating layers of basic lead carbonate in oil and zinc oxide in oil, without sanding. These priming materials were characterized using XRF at 15kV and 40kV at 4ua and 28ua, respectively.

Design Layers: The paints have been applied generally in single layers, often applied wet-into-wet and blended, filling the canvas texture. The artist also uses subtractive techniques such as scraping and wiping to remove paint and expose the white ground layer and canvas texture below, effectively creating a higher value. O'Keeffe applied paint at the margins of forms using nearly continuous, curvilinear brush strokes with the brush positioned at a low angle to the design surface, resulting in a continuous, raised ridge of paint at the edge of each form. Surrounding brushwork is generally parallel to the linear directions defined by these edges, with no underlying or subsequent brushwork moving perpendicular to the linear form. Occasionally, adjacent forms do not overlap, and the artist has chosen to allow a "holiday" of unpainted primed canvas between the forms.

Surface Coating: The painting features a thin, glossy synthetic varnish that remains clear and clean. This varnish may have also been part of the 1961 conservation campaign.

Framing, Backing, and Hanging Hardware: The painting is installed in an L-profile, rub-out, powder-coated, extruded aluminum reproduction of Georgia O'Keeffe's original "L" profile brushed chrome frame. The frame is fitted with microclimate provisions, including charcoal-embedded zeolite papers as VOC scavengers and conditioned silica gel-embedded felts for internal humidity control and buffering.

All paints and the structure are secure and stable. The work has a crease and associated diagonal crack in the viewer's lower-right corner, which are stable and secure. All accretions have been previously removed. There are numerous abrasions and surface disruptions that likely occurred in the studio or in the artist's storage area, as they generally appear as if they occurred either in the artist's original wet paint or in wet or tacky varnish. There are no discolorations. The work is clean and free of dust. Artist's brush-hairs, dried palette bits, and other studio inclusions are occasionally visible in the design surface but should not be confused with damage or deterioration. The work has developed a broad, generalized distribution of basic lead carbonate (2PbCO3·Pb(OH)2) micro-protrusions that appear under some magnification as small granular surface inclusions in the paints. They are visible in the primed canvas along the tacking edge where there are no paints. They are more numerous and larger in thick paints, becoming very small in areas where the artist has removed paint using subtractive techniques during the execution of the work.