Support: The support is a commercially primed, fine, plain-weave, bleached linen canvas. At an unknown date, using techniques consistent with work done under the direction of the artist and conservator Fel Hines, the work was lined onto a Belgian linen canvas with a wax-resin mixture. The canvas was mounted onto a new expansion bolt strainer, as it remains at present.

Ground or Support Preparation: Commercial protein sizing and apparent zinc oxide/lead white in oil primer.

Design Layers: Graphite underdrawing occasionally visible at the raised ridges of paint between the edges of adjacent linear forms. There are single-layer, thinly applied paints with support texture visible throughout. Whites and light values are often applied with stiff paints using short, scrubbing brush strokes. Darker values, cream, and vehicular paints, nearly smooth and leveled, were applied using linear brushwork at the margins of forms, with raised ridges of paint at the edges of the forms. There are gradual, stepped transitions in value or hue, generally painted wet into dry.

Surface Coating: The work appears to be coated with the original, synthetic resin sprayed on at the artist's direction. The varnish appears slightly soiled and yellowed, overall, with broadly distributed, dark-amber-colored inclusions.

Framing, Backing, and Hanging Hardware: The work is framed in a contemporary, micro-environmentally buffered, and gasketed metal-leaf "clam shell" profile frame, a reproduction of Georgia O'Keeffe's original design, created by framer/artist George Of. The glazing is Optium® tin salt-coated UV-absorbing, static-free, non-reflective acrylic. The Optium glazing has a Volora closed-cell polyethylene gasket/pad. The frame is fitted with a laminated, Voloro-gasketed backing strainer.

The work is complete, and the media is stable overall. The work has suffered historic planar distortions, age, drying cracks, and interlayer cleavage, which was likely the focus of the wax-resin lining of the work to a secondary linen canvas and expansion bolt strainer. The possibility exists that the lining treatment exacerbated several significant deterioration conditions.

The work has stretcher bar creases and associated, branched hairline cracks on the inside of all four stretcher rails. Warps threads in the original canvas appear to have been thrust forward onto the recto relief by the lining process, and a number of cracks may have formed or been aggravated by this action. Further, stiff, paste-like points containing whites have frequent drying cracks, and these may have been aggravated or widened by the tension of the lining fabric.

There is a series of cracks at the center of the top stretcher rail that were originally caused by a handhold and careless protrusion of fingers into the verso of the canvas. The cracks in this area continue to actively cleave and buckle, requiring ongoing consolidation. Likewise, stretcher bar cracks continue to cleave and lift, requiring periodic consolidation.

The glossy, synthetic varnish on the work appears to have tiny, dark-amber, translucent inclusions that are partially dissolved and diffused by the varnish or its original carrier solvent, suggesting that the air-hose, compressor, or spray apparatus introduced these contaminants generally over the entire varnish coating on the work. There is a broad planar depression in the lower-left quadrant.