In Ed Ruscha’s (b.1937) Yes, we see the titular word printed in a semi-translucent white against a silhouetted window, outside of which a fire red sky blazes in the background. In a manner typical of Ruscha, Yes plays a semiotic game with the viewer. While the ‘YES’ at the forefront of the composition bears no obvious commotion to the imagery behind, it is painted in a semi-translucent white and is therefore window-like in nature. There is, therefore, a visual mirroring between the literal window and the ‘YES’, forging a strange relationship between these two otherwise unrelated elements. This is a work that forces us to question and reconsider the visual and linguistic systems through which we engage with the world.