One of the extraordinary things about printmaking is that, through proofs pulled at each stage of production, one can almost literally watch an artist at work. “Untitled, 1999,” by Jasper Johns, together with all of its supporting proofs (working proofs, trial proofs, key-plate proofs, elements, and progressives—42 sheets in all), provides a remarkable opportunity to get inside the thought process of the artist: from Johns’s key-plate design (the drawing of a fallen soldier, based on a figure in Matthias Grunewald's famous altarpiece), to the artist’s selection of each color, to his complex multi-layering of visual information (including some typical “Johnsian” encrypted forms and puns). No other public institution or individual, other than Johns himself, owns such a comprehensive body of the artist’s work for a single project.