In a medium-sized, rectangular art gallery, there are three free-standing partitions that are set up parallel to the shorter walls, dividing the space into four smaller, rectangular areas. One wall of the gallery is completely made of glass, allowing natural daylight to flood the interior. On a bright afternoon, Jaya, an art enthusiast, is inspecting a sculpture located in the second rectangular area from the glass wall. Directly on the other side of the partition, in the third area, Kenji is admiring a painting hung on the partition itself. 

In the fourth and farthest area from the glass wall, Chika is setting up her camera on a tripod, aiming to photograph a large-scale installation piece. This installation is directly opposite to the painting Kenji is looking at, but separated by the partition. Meanwhile, next to the glass wall in the first area, Amare is sketching the effect of light and shadows that the partitions cast on the polished floor. 

Suddenly, an attendant enters the gallery and hangs a sign stating that one area of the gallery will be momentarily closed for maintenance. The sign is placed exactly at the center of a partition between the second and third areas, facing the glass wall, so it is only visible from the first and second areas. Taking note of the sign, Jaya begins to wonder which of the other patrons might be aware of the scheduled maintenance break. Considering the layout of the gallery and the location of all individuals involved, which of the other visitors can see the maintenance sign, and does Jaya know who can see it?
Since the sign is placed on the partition between the second and third areas, Jaya, who is in the second area, can see it clearly. However, Kenji is in the third area on the other side of the partition where the sign is posted, and the sign is not facing him. Therefore, he cannot see the sign because the partition obstructs his view. Kenji's attention is further hindered by his focus on the painting on the same partition but on the opposite side. His line of sight does not allow him to view the sign at all. 

Chika is in the fourth area, which is behind Kenji relative to the placement of the sign. Like Kenji, Chika's view is blocked by the partition. Additionally, Chika is preoccupied with photographing the installation piece, making it even less likely she has noticed the sign, which is out of her line of sight and focus. 

Amare is in the first area, close to the glass wall. Since the sign is facing the glass wall, Amare has a direct line of sight to it. He can therefore see the sign clearly from his position. Amare's engagement with sketching the interplay of light and shadows cast by the partitions does not impair his ability to notice the sign as he may look up to observe the overall scene or sources of the shadows.

Concerning Jaya's knowledge of who can see the sign from her vantage point, she knows she can see it because it is directly in her line of sight. However, she is likely unaware of Amare's ability to see the sign. Unless she turned around to see who else is observing the sign or checking the gallery areas, she couldn't be sure if Amare has seen it. Jaya cannot assume Amare has seen the sign without this additional visual confirmation.

For the other viewers, given her knowledge of the gallery layout and the occlusive nature of the partitions, she can deduce that Kenji and Chika do not have a direct line of sight to the sign and are likely unaware of the maintenance. Since she knows Kenji is focusing on the opposite side of the partition, where the sign is hanged, and Chika is even further secluded, both behind the partition and engrossed in photography, Jaya can reasonably conclude they haven't seen the sign.