For exhibition 52 in San Francisco we have selected a group of preponderantly white paintings by artists selected in the stable and the sphere of the gallery. Painting after Robert Ryman (the contemporary artist perhaps most associated with white) has developed to emphasize its own physicality, and artists gain a particular focus in this regard when they eschew spectral colors for white. White paintings throw the viewer's attention back on the tactile qualities of the work, with a heightened sense of light. The voluntary constraints of working with white tend to bring out the individual traits that make each artist's work their own, their touch and accumulated decision making. Selecting the works for this modest hanging, I realized I could easily have curated a selection with ten times as many artists, resources permitting, for the discipline of painting white is widely practiced. Still, this small selection gives an indication of the range possible within the mode.