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 Tlns catalugur is published bn ine neeasinn bf the eirliibiriun
snr Lewis A Rerrnspebnys. urgnnized by sary Garrels at rlie
San Francisco Museum nflylbrlern Arr.

This erliibiribn is sponsnxed by

BANANA REPUBLIC and CharksSchwah

signineam support nsr nie iirliibirian ms been praynieil by nie Mnilern Art cbuneil,
an auxiliary bf swlomn, by nie Henry Luce Foundation, and by n gram frnm ure
Nalibnal nnrlnwinenl for nie ans. U Additional gcnerous support is provided by
Pnrrifia and William wilson III and Henry s. McNeil. Front Covev;
Co/or Hands ln Pau: nlrefziims, 1999.
Gouache on vaven Lewnt Collection
Eirnrbrfrnn srkednles
San Fmneisen Museum of Modern an Back Cover'
February in ni May yn, nnbb calar Arcs ln four Dlremons, 1999,
Gnuache on nanen Lewln Cnlledion.
Museum bi conrernpbrary Arr, clneagb
Iuly 11 w October ie, ibbb FVOMISDISCBSZ

1. wal/ am//ng als; 1912.

wlinney Museurn nfnmeriean Arr Black penc|1l;r1\1,h1ue arayan arcs,am1
lines. callerrlan 01 the san Francisco
November nb, ibnn, in February es. ml
Museum of Mbnern An: Accessions
Cumrmltee funn; gm na Frances ana
Jann lanwes, Jean nauqlas, nuns ana
©1000 by rlie San Francisco Museum nf Modern Art,'151 Third sneer, San Francisco,
nbnala G risner, susan ann Ruben
caufbrnin, 94105, and nbpyrigln holders as speeised on page 416.Al.I rigbis reserved. No
Green,M1rv1iann Paley Haas, elaine
pnrr bf mis publaczuon may he reprbdueeil in any manner wirbnui permissinn. mekeon. Manelelne H Russell, 1-lenen
ann Charles senwab, and Mn ann Mrs.
clbilibuuna edinnn published by srbaks Walken Jr.
Yale uniyersiry Press
New 1-layen and London
2. wall Drawrng #ssl 1; 1993.
calbr ink was|1.Cn1Iec1ion of the
National Gallery of An, wasrnnqlun,
Library of Congress canalngingein-Publiearibn Dana n.c.¢ nnrnlny ana Herberl Vnqel
cn1leenbn_ sin ef unrniny ana nerberr
sbl Lewin / edired by Gary Garrels wnli essays by lylarrin Prieainnn [er n1.1. vbqel, 1rns1ees_
P. <rn,
esrhibinnn selieaule. san Francisco Museum ofMndem Arr, Feb,19 in May 50,1000 3. wall Drawing #995, 1999.
and others Acrylic nalm. Private cnllenion.
Includes bibliographical references.
151111 imbnmaasa-0 _ ISBN rwisnyi-so-7 1pb1r.1 4. 54 Co¢umn§,1999. Concrete bleak.
i. Lewin, sul, inns Y Eirlnbinbns 1. Garrels, Gary. 11. San Frineiseb Museuin Fulton county Glen Iris Public An
ofl\1odern An, Prolecl, Freedom Parkway. Auanla.

Nbsy;.1_4a A4 me s, wall Drawing #915 1999. Latex

70922 - dm ua1n\,Cour(esy Pauls cooner Gallery,
New vbrk.
99-1157796

Page 19. Execution nv a wall nrawlnq

Editor-at-Large: Susanna Singer
Vnr!r1e\9E3 exniblnun at me
Design Concept: Sol L,eWiu
CAPC, Musée wart mntemvnvaln.
Design; lzerliany lnlins
Bordeaux. France.
Publications Director: Kara Kirk
Publirannns Manager: Chad cberyer
Page 20 (rig. 11. Installation photoqrauh
lsnlnbn loseph Newland ol the 191s eknibiunn snuevmral
Publimliuns cubrrlinanm Alexandra Chapp=ll me Museum bf Contemporary Arr.
Prinrers nr, Cantzkche Dniskerei. Germany Mnnzreal,
CONTENTS

14 LENDERS TO THE ExN|D|T|cN

15 D|REcToR's Eo»zEwowD
DavidA.Ross

17 Ac|<NowLEDsMENTS
Gaxy Garrels

22 SDL LEWTTT: AN TNTRDDUCTION

GaryGarrels

36 uNExPEcTED D|nEcT1oNs: SDL LEwT1'r’s wALL Druwwos

Brenda Richardson

48 coNsTnucT»oN Smms
Marlin Friedman

60 APPROACHES To SER|AL|Tv: SOL LEw|TT AND ms coNTEm»=oRAw|Es

AnneRorimer

72 vAR|ET|ES or TNFLUENCE: SOL LEw|TT AND THE ARTS <:oMMuN|Tv

Andrea Miller-Keller

88 SOL LEWITT: THE IDEA, THE wALL nRAw|No, AND PUDLTC SPACE
IohnS,WebeT

wo LEw|TT's Aurosloo/EA/=»4v: |NvENTonv or TNE PRESENT

Adam D. Weinberg

109 PLATES

368 APPENDTX: THE wwmnss or SoL LEWTTT

378 D|DL|ocwAPHv

386 Exmamon Nnsronv

401 LIST DF PLATE ILLUSTRATIONS

LENDERS T0 THE EXHIBITION

Anonymous Private Collections Robert and Sylvia Mangold

Art Institute of Chicago Lawrence Markey
Aase f\sard Roger Mazarguil
Marc Blondeau Henry S, McNeil
Bonnefantenmuseum, Maastricht, The Netherlands FRAC Picardie, Amiens, France
Bowdoin College Museum of Art, Brunswick, Maine Museum of Fine Arts, New Mexico
Carnegie Museum of Art, Pittsburgh National Gallery of Art, Washington, D,C,
Chateau d’Oiron, France National Gallery of Australia, Canberra
Chiba City Museum of Art, Iapan Offentliche Kunstsammlung, Basel
Beatrice Conrad-Eybesfeld Camille Oliver-Hoffmann
Paula Cooper Gallery PaceWildenstein, New York
Des Moines Art Center Barbara G. Pine
Ian Dibbets The PER Collection
Virginia Dwan Collection, New York MIS Collection, Paris
Aaron and Rosa Esman San Francisco Museum of Modem Art
Sondra Gilman Gilbert and Lila Silverman
Karsten Greve Peter Soriano
Haags Gemeentemuseum, The Hague Shirley Ross Sullivan
Henry Art Gallery, Seattle Rcselyne Chroman Swig
Lewis Herman Tate Gallery, London
Werner and Sarah-Ann Kramarsky Dorothy and Herbert Vogel
Kroller-Muller Museum, Otterlo, The Netherlands Wadsworth Atheneum, Hartford, Connecticut
Levi Strauss & Co. Ruth and Harvey Wagner
Michael Lewitt Whitney Museum of American Art, New York
LeWi\t Collection Yale University Art Gallery, New Haven
Los Angeles County Museum ofArt
 D|Rcc1'oR's Fonzwown

David A. Ross Idea, method, and honesty are central to Sol LeWitt’s work. So while a Sol LeWit\
retrospective offers us a rare opportunity to see gathered together the work of an
extremely influential artist, it also provides us with several other things: a way of
understanding the complexity of contemporary art, a method of considering
contemporary art history within the history of ideas, and the way in which ideas
form the basis of the art of our time.
When not characterized as a grand parade of heroic genius, the history ot' art is
alternately portrayed as a contest for national cultural dominance, a struggle between
distinct aesthetic philosophies, or simply as a contest of competing styles. lt would
seem to be a struggle for cultural dominance, a near-Darwinian exercise in the survival
of the fittest aesthetic. Given the nature of an art history constructed in a century
that lurched from war to war, this model should not be surprising, lt seems, however,
that there may be another method of developing an understanding of our times; one
that relies neither on hagiography nor the continuation of politics by other means,
The method I suggest is one made possible by this retrospective exhibition and its
accompanying publication; an exhibition that attempts to foreground the evolution
of an artist`s working method and well-articulated intentions. The central purpose
of this retrospective, celebration aside, is to provoke a thorough understanding of Sol
LeWitt’s contribution both within and despite the constraints of contemporaneous
art historical categorization,
For example, the movement known by the evocative but relatively meaningless
term “Conceptualism" provided an epistemological exploration of art-an essentially
philosophical investigation into the mechanics of how art conveys meaning. Not
surprisingly, it emerged as an analog to the structuralist study of literature with its base
in linguistic theory, Following a period in which artists sought ways to convey aesthetic
experience in as authentic a manner as possible, Conceptual art stripped art-making as
far back as it could go, resolving its underlying structure to reveal its essential character.
The style of Conceptualism was deeply influenced by a parallel set of developments
emerging from Minimalism-the philosophically rigorous approach to the making
of art which sought in direct experience a new foundation for art’s purpose. But
Conceptual art was often discursive (and text-based), and as a result often looked
unusually dry, especially when seen in the context of the personal and informal style
that accompanied the contiguous tendency known as Post-Minimalism.
At the same time there was something extremely courageous and honest about
Conceptual art`s ambition. It seemed to resonate with a generation of artists and critics
who were fully ready to make the moral and aesthetic commitment necessary to this
enormously honest way of working. And, as important, the spirit of enquiry and the
nature of the questioning itself proved to be resonant not only within a generation
 caught up in the social fervor of the late sixties, it has proven to have been quite influential
on the succeeding generations of Post-Conceptual artists as well. Mindful of the caveat
that when speaking about art one should never generalize unnecessarily, if one thing
can be said of this generation of late twentieth-century artists, it is that nearly all have
incorporated the lessons of Conceptualism into their work,
Therefore this moment early in the new century is a highly appropriate time to assess
seriously the work of Sol LeWitt-the protean artist who perhaps more than any of his
peers can be seen as an artist who was able to not only help formulate and promulgate
Conceptualism, but who most successfully embedded these ideas into a working method
that bridged all the interlocking tendencies of his era. His works based on sets of instruc­
tions insist on a level of democracy in art that still seems shocking in its simplicity
l.eWitt’s wall drawings, structures, and works on paper continue to astonish with their
pared-down means and absolute intellectual clarity, resulting in works giving unabashed
aesthetic pleasure. It is nearly impossible to overstate how critically important his work
has been from its Hrst appearance in the mid-igoos to his most recent exhibitions in
1999. But perhaps most astonishing is how completely fresh his work remains without
having deviated from the intellectual clarity that distinguishes the entirety of his output.
Fortunately, in this exl1ibition, organized by Gary Garrels, Elise S. Haas chief curator and
curator of painting and sculpture, the full range of LeWitt as a sculptor, draftsman, and
theorist without equal is revealed and explored with the precision and intelligibility it
both commands and deserves. We are indeed grateful to Garrels, who worked closely with
the artist for more than four years in organizing this luminous and exquisite exl1ibition.
Together with the artist himself and Susanna Singer, the artist`s longtime close associate,
Garrels has assembled a comprehensive overview of four decades of l.eWitt`s work, and
in so doing has made it possible for all of us to understand better and finally to celebrate
the work of a great American artist. Sol LeWitt has been characteristically gracious
and generous with his time and energy. LeWitt also deserves our thanks for his direct
contribution to the catalogue's design; its precision and intelligibility bears the artist’s
signature categorically.
After the presentation at the San Francisco Museum of Modern Art, the exhibition will
be shown at the Museum of Contemporary Art, Chicago, and the Whitney Museum of
American Art, New York. We are pleased to be sharing this exhibition with these museums
and are grateful to our colleagues, Robert Fitzpatrick, director, and Elizabeth Smith, chief
curator, at the MCA; and Maxwell Anderson, director, Willard Holmes, deputy director,
and Eugenie Tsai, associate director for curatorial affairs, at the Whitney, for their support
and work on this project.
Finally, on behalf of SFMOMA and its trustees I would like to acknowledge the gener­
ous gifts of Banana Republic and Charles Schwab & Co., Inc., whose support of this
exhibition is dedicated in deep appreciation to both the artist and curator. Early support
from the Henry Luce Foundation and the National Endowment for the Arts was critical.
Additional generous assistance has been provided by Patricia and William Wilson Ill;
Henry S. McNeil; The Modern Art Council, an auxiliary of SFMOMA, which selected this
exhibition for their annual significant exhibition support; and The Argent Hotel, hotel
sponsor for this project. Without these benevolent contributions this important under»
taking would not have been possible.

osvta it wars
 ACKNOWLEDGMENTS

Gary Garrels Almost as soon as I arrived at the San Francisco Museum of Modern Art in the (all
of l993» I raised the idea that a full-scale retrospective ofthe work of Sol LeWitt was over­
due, and Iohn R. Lane, then the director, readily supported this proposal, A sumptuous
survey ot' LeWitt's wall drawings at the Addison Gallery of American Art in Andover,
Massachusetts, that spring had galvanized our attention, convincing both of us that the
quality and reach of LeWitt`s work since the survey at The Museum of Modern Art in
New York in 1978 merited a comprehensive overview, and there was a need especially
to see the full, uninterrupted arc ot' LeWitt`s career from the 1960s through the 19905.
We also realized this would be an enormously ambitious undertaking,
When approached with the idea of such an exhibition, LeWitt was skeptical ofthe
need or purpose of such an undertaking, his attention, rightfully for an artist, being
focused on new ideas, new work, and his time in the studio, Slowly, however, over the
course of several conversations and months, stretching into years, the potential for such
an exhibition began to emerge. Sometime after the opening of SFMOMA`s new building
in 1995, we realized we had indeed embarked on organizing a retrospective,
So I must first thank Sol LeWitt, who has been a full partner in this project, who has
given unstintingly of his time and thought, who has generously answered query after
query, and has coped admirably with shifting logistics and the complexities of having a
large»scale institutional partner make seemingly unending demands, His imagination
and commitment, his quickness of response and patience, his resolve and good humor
have made this project a pleasure and privilege to have undertaken.
Susanna Singer, who has worked closely with LeWitt for more than twenty years,
and who knows and understands his work better than any other individual, has been
my alter-ego on this project. From the smallest detail to the most abstract concept, her
attention was at hand. My respect for her is unflagging, and this is a much better project
at every level because ot' her tireless involvement.
LeWitt has assembled a team over many years whose assistance has been essential.
Their loyalty and commitment speak both to the quality of LeWitt’s art and the character
of the man. Particular thanks go to Ianet Passehl. curator and registrar of the LeWitt
Collection, and Io Watanabe, who led the execution of the wall drawings along with his
expert team: Sachiko Cho, Iohn Hogan, Emily Ripley, Tomas Ramberg, Anthony Sansotta.
Mio St. Clair, and Wim Starkenburg. Kazuko Miyamoto and Yoshitsugu Nakama fabricated
many ofthe structures in the exhibition,
This book produced in conjunction with the exhibition has had a life of its own, and
we hope will live on long after the exhibition as a fundamental reference for LeWitt`s
work. Sol LeWitt has been integrally involved in its conception and design, and Susanna
Singer has functioned as editor-at»large. Graphic designer Bethany lohns has collaborated
with the artist to produce a book of finesse and clarity, reflecting both the intelligence
 and the visual pleasure of the work, With a keen overview and broad perspective loseph
N. Newland has edited a large number of authors with disparate voices to form a cohesive
frame around the work and we are grateful for his forbearance of the myriad editorial
challenges of this project. Sara Eichner provided valuable production assistance and
Shariann Michael contributed her expertise as a research and editorial assistant and
we are indebted to them for their dedication and good humor, At SFMOMA, Kara Kirk,
director of publications and graphic design, and Chad Coerver, publications manager,
have brought enthusiasm and insightful judgment, patience and perseverance to
demanding and complicated requirements. They were assisted in this endeavor by
Alexandra Chappell, publications coordinator, Teresa Tauchi, expert proofreader, and
Pilar Rubin, intern.
To have such a distinguished group of authors all accept, with enthusiasm and
dedication, the invitation to write about this work again is a tribute to LeWitt, For
adding another responsibility to already demanding lives, I want to thank Martin
Friedman, Andrea Miller-Keller, Brenda Richardson, Anne Rorimer, Adam Weinberg,
and Iohn Weber, who are not only colleagues but friends. Thanks are also due to the
galleries, institutions, and private lenders (listed on page 416) who generously pro­
vided photographs for use in the book’s extensive survey of LeWitt`s work,
To help support this publication, Sol LeWitt very generously agreed to produce a
new graphic work to be included with a special edition of the book. Kathan Brown
and Crown Point Press, San Francisco, longtime printers and publishers of LeWitt
graphic works, readily agreed to take on this responsibility and we are very grateful for
their contribution.
My coworkers at SFMOMA embraced this project with tireless professionalism and
boundless good spirits, keeping it on track at every turn. If there were a superbowl for
museums, this team would be a contender. Given the scale and demands of this project,
nearly every member of the museum’s staff has been involved in one way or another,
and I deeply appreciate all of their efforts, but I particularly want to extend thanks to
Susan Avila, director of development; Michelle Barger, objects conservator; Olga Charyshyn,
registrar, exhibitions; lay Finneyn director of marketing and communications; Lori Fogarty
senior deputy director; Evan Forfar, chief preparator; Adrienne Gagnon, curatorial associ­
ate; Libby Garrison, public relations associate; Keiko Hayashi, graphic design manager;
Barbara Levine, former exhibitions director; Carrie Mahan, associate director of develop»
ment; Terri] Neely, senior graphic designer; Iennifer 0`Neal, administrative assistant;
Kent Roberts, exhibition design manager; Peter Samis, program manager for interactive
technologies and associate curator of education; Will Shank, former chief conservator;
Rico Solinas, preparator; Iill Sterrett, conservator; Marcelene Trujillo, assistant exhibitions
director; Stephanie Verkauf, former associate director of development, corporate partner­
ships; Iohn Weber, the Leanne and George Roberts curator of education and public
programs; and Greg Wilson, framer. I especially thank David A, Ross, director, who joined
the museum when this project was well on its way and brought renewed enthusiasm and
commitment to our efforts.

'lb execute the almost fifty wall drawings for the presentation at SFMOMA, a large
group nf individuals, many of them artists from the Bay Area, was assembled: Nancy
Arms, Chris Cobb, Andy Cox, Tim Curran, Frank Davi, Patrick Dintino, Susan Dopp,

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A<K~o»\Lu>@~<f~rs vf
Mr, Shigeo llanda, Mary Herbert-Busick, Lewis Herman.
Haus laxnssen, Sarah lury, Brian Kennedy, Katy Kline, Mr.
Tadashi Kobayash1,Annc‘ Kovach, Werner and Sarah#-\nn
Kran1arsky,l.aura Landau, Michael LeWrtt, Dr. I.L. Locher,
Susan Lubowskv, Fla Majchvak, Robert and Sylvia Mangold,
Lawrence Markev, Charlvue Mattox, Roger Ma/arguil,
Henry S. McNeil, MIS Collection, Paris, loseph and Elaine
Monsen, Camille Oliver-Hoft'ma1nn, Barbara G. Pine, Earl A.
Powell, III, lock Reynolds, Iames Rondeau, Shirley Ross
Sullivan, laura Satersmoen, Dr, Katharina Schmidt, Sir
Nicholas Serota. Gilbert anti l.i|a Silvernian, Peter Soriano,
Judy Sourakli, Barbi Spieler, Mr. A. Straatman, Peter Sutton.
Roselyne Chrornan Swig, Monica Tomko, Dr. Evert I, Van
Straaten, Thendnra \'ischer, Dorothy and Herbert Vogel, Ruth
and Harvey uzrgrrfr, larncs N. Wood, and several collectors who
wish to remain anonymous.
I would like to reiterate thanks to the Museum of
Conternporarv .-\rt, Chicago, and the Whitney Museum
of American Art, New York, and my colleagues at these
niuseurns for embracing this project. As noted above, we
understood from thc outset this would be an ambitious
undertaking, and my deeply felt thanks go to the funders
who shared a recognition of the importance of this project.
\’\'ithout them it would not have happened.
I-1naIlv,my most heartfelt thanks go to Richard Hoblock,
who continually and consistently meets my ictlag and obsession
with grace and Iorbearance. ancl most often with appreciation
and enthusiasm. His astute judgments and unconditional lovc
rrrracrprrr this endeavor.
 I
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 SOL LEWITTZ AN INTRODUCTION

Gary Garrels Clarity, beauty, playfulness. Simplicity, logic, openness. The words which come to mind
in beginning to describe the work of Sol LeWitt resonate with essential aesthetic and
intellectual values. His works are straightforward and legible. Yet, upon closer observation
and consideration, even those that initially appear direct and obvious reveal complex
subtlety in decision-making. Intellectual substance is paired with visual delight, both of
which seep, sometimes immediately, but often slowly, into one`s consciousness.
Across four decades and many forms and materials LeWitt’s work consistently calls
forth the same character. Fundamental beliefs and attitudes about art and life underpin
all of his work. Yet he has assiduously avoided either an ideological ur theoretical program.
One can say that in his work he champions equality, accessibility, open exchange, and
public space.‘ These are values at the heart of democracy, extending the principles at
the core ofthe American republic, inherited from classical Athens. His work has roots
also in the values of early twentieth-century European art movements-Constructivism
in Russia, the Bauhaus in Germany, and DeStijl in Holland. LeWitt builds on these
foundations of moral purpose, re-engaging both classical humanism and the romantic
utopianism of the pioneers of abstract art,
LeWitt’s fecundity is staggering. Perhaps not since Picasso has an artist worked with
such relentlessness and range. There are now more than goo wall drawings, executed
directly on the wall in pencil, crayon, ink washes, and recently acrylic paint. There are
similarly hundreds of drawings on paper, in an even wider range of media, although
primarily pencil, ink, and gouache. And though there are substantially fewer of his three­
dimensional structures than two-dimensional works, there are scores of these, ranging
in size from modest maquettes and human-scale objects to room-sized installations and
monumental, outdoor public works. Graphics, photographs, books, posters, and some
number of commercial consumer objects almost indefinitely extend his production,
Moreover, LeWitt’s work has not stood still. He is one of the key Figures from the
decade of the 1960s, bridging the movements of Minimal and Conceptual art. ln the 1970s
he inventively opened up the ideas and forms grounded in those movements, The work
ot' these two decades was admirably presented and examined in a mid-career survey
organized by The Museum of Modern Art, New York, in 1978.1 However, that was the
last overview exhibition of LeWitt`s oeuvre. The early 1980s saw a marked shift involving
sensual color and surfaces, myriad geometric forms and their permutations, and a more
explicitly sensual and expressive overall character. In the last five years, the vitality and
invention in his work have been especially pronounced. Although other exhibitions have
surveyed different forms-wall drawings, structures, drawings on paper, for example ‘~
none since the IVIoIvlA exhibition has brought them together.
This exhibition and book attempt to give a larger perspective and to reveal the inner
coherence of Sol LeWitt`s art as well as clarify its development and the diversity ofhis

rig. 2. Sol Lewitt in ms studio.

New York. ca. 1964
achievement. The task is daunting owing to the volume of his work, its nuances, and
its many facets. A single drawing on paper may be as richly resonant as a monumental
wall-work. The interweaving of ideas and finished works is supple and fluid, As LeWitt
states, “What the work of art looks like isn't too important. It has to look like something it'
it has physical form. No matter what form it may finally have it must begin with an idea.“‘
inevitably any selection of works and the way they are presented will shade an under­
standing of the career. For this exhibition we have worked very closely with LeWitt to
choose and bring together key works or groups of works that trace the development of
his art since 1960 and indicate the complementarities and contrasts between wall drawings,
structures, and works on paper. Graphics have not been included, since an excellent
overview was recently organized and circulated by the Museum of Modern Art, New
York. i In the exhibition at the San Francisco Museum of Modern Art, works will be
presented more or less chronologically, highlighting individual works or groups that
mark a turning point or a conclusive clarification of an idea This book published on the
occasion ofthe exhibition provides a more thorough overview, including documentation
of more than 4oo pieces.
Apart from the work itself, LeWitt`s influence and presence in the world of contemporary
art is prodigious. He was a crucial friend, confidante, and supporter ot' many artists of
his own generation, and exchanged for and collected the work of his peers. Along with
Lucy R. Lippard, Pat Steir, Robin White, Walter Robinson and others, he was a founder
and driving force behind the organization Printed Matter in New York, which has been
probably the most prominent supporter and distributor of artist books and publications,
not only in the United States but internationally. His openness to and support of artists
has been unabated, and he has continued to trade for, collect, and support the work of
younger artists up to the present day, The resulting collection has been on long-term loan
to the Wadsworth Atheneum in Hartford, Connecticut; since the mid-seventies, many
exhibitions have been organized from it, and through it countless students have been
introduced to contemporary art.”
LeWitt`s strength of character and his ambition are notable. He once said," l would
like to produce something I would not be ashamed to show Giottof" Yet in equal counter»
point is a self-effacing modesty, which is reflected in the work. Even projects of great
scale resist being grandiose or overweening. LeWitt maintains a modest studio next to his
house and over many years has worked with a handful of people who assist in executing
his works. He rarely makes public appearances, refuses honorary awards, resists being
photographed, and remains resolutely out of sync with a personality~driven, media­
hungry world. l-lis own delight and reward are in the making of art, and then sharing
the results.

While LeWitt is a well-known figure to those who follow contemporary art, this
exhibition has been organized with the goal of opening an understanding of his work
to a larger, general audience, and with the hope ot' making the logic of his work legible
and the pleasures in its perception palpable. At the same time, given the length of his
career and the quantity and variety of his output, the exhibition is intended to bring a

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 knowing architects had a big effect. An architect doesn’t go oft' with a shovel and dig his
foundation and lay every brick. He`s still an artist,"" In retrospect, this contact proved
formative, and LeWitt`s later practice of having other people execute his ideas is clearly
grounded not in ideological or abstract principles lrut in lived experience and practical
considerations.
LeWitt was continuing to paint, but had shifted to an Abstract Expressionist style,
then at the cutting edge for the downtown New York art world (fig, 4), In general,
however, LeWitt felt he had “reached a low point in [his] art-life.” ”" The next two years
were a period ot' transition. He quit his job. He moved to a loft on West Broadway, in the
neighborhood that many years later would develop into the SoHo gallery district. LeWitt
and a group of other artists hired a model and began to meet every week to draw from
the tigure. He took drawing classes and sketched interiors. figure and plant studies,
and still lites tpls. 14-18). He also began to make drawn copies from reproductions of
paintings by European old masters-Piero della Francesca, Botticelli, Velasquez, Goya,
and Ingres, among others (pls. 2-13).
In igoo LeWitt took a job at The Museum of Modern Art. first at the book counter
and later as a night receptionist, He met other young artists working there, including
riq A sm tewm unmieanvsr Dan Flavin, Robert Mangold, Robert Ryman, and Scott Burton, as well as the critic Lucy
on an canvas oesimvea
Lippard. Ryman and I.ippard lived in the same neighborhood as LeWitt, as did the artists
Eva Hesse and Tom Doyle. LeWitt had known Hesse since 1956, when he had also met
artist Robert Slutsky, who had been a student of Ioseph Albers. LeWitt was now in the
midst ofa community of young artists consciously searching for a new direction "that
would lead away from the pervasive but useless ideas of Abstract Expressionism." "
From mid-December 1959 through mid~February 1960, The Museum of Modern Art
presented the groundbreaking exhibition Sixteen Americans. organized by Dorothy C.
Miller, that included works by Iasper Iohns, Ellsworth Kelly, Robert Rauschenberg,
and l-rank Stella. Seeing this exhibition, I.eWitt and other young artists with whom he
associated reeognired a new direction that could lead out of the impasse.

IW had intiny talks and saw shows at MoMA as well us galleries. The discussions at
tlm! time were invnliwd with new ways nfmtrkrng nrt, trying In reinvent the process,
lu regain Imsirs. to lie os olriectrvt' as possible. The work of Stella and Iohns, who were
in ti sliuw at [t1o.’t/IA...t1lnmt then, were ofptlrtltulur rn/crest .._. My thinking was
mmlvetl with the pmlrltvn afpmnlxng at the tinie: the idea ofthe flnr suffice and the
Inleg/1/yu/ the surfirte. Hy the end ty' the Fifties nlrstrart exprcssronlsni had passed,
ir wus played out Pop an had tr completely different iden, ll was more involved with
ulneets. I wttsrft ren/ly llml interested in ulrjeels. I was interested in ideas. 'l

The icleas and work of Albers, as well as Iohns and Stella, were of particular importance:
"I decided that I would make color or form recede and proceed in a three-dimensional
way," " The work of Muybridge, which LeWitt had discovered years before, now
proved pivotal. "
mt; 5 Donato Juan unrlrrea wee
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colreeurw ol Pnvnls warns
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ana elm over canvas surmounrea my
mar unter: master laces rn wma rm
mm runqeu lront conecrlon Dv we
Museum ot Moaern Art New vars
out on Mr .ana Mrs Ruben c sean
Several paintings made between 1964> and |961 reveal the transition. A work from
1960 remains strongly gc-stural and abstract, although small Hgures emerge from the
ground (pl, 11). ln other drawings and paintings, ligures suspended ir\ motion are
dominant, whether as a single character, as in, for example, Smrrersuullrrzg Figure, rgfso
(pl, 24), or in groups, as in Rim (yellow), 1961 (pl, 13). The next year l_e\’t`itt made a group
of large, square relief paintings with series of small figures rn sequence, whether painted
onthe surface, set into the canvas, or prorecling from rt lpl. zol. language referring to
the physical acts of running and looking-and to the operations ofthe mind that bring
order to perception-was also incorporated. These works introduce I e\\'itt\ method
of working rn series and with permutations that he has continued to use eter since.
The process and logic of LeWitt`s thinking can he clearly seen in the development of
his work over the next few years. /\ critical step was taken with the rnaklng of llltll Strrlcrrm'
Bllw, ws; lpl. asl. where the fractured and sequential character of the earlier works is
superseded hy a resolutely abstract, iconic, purely perceptual obicct. The rnonochrorne
background and scumbled surface finds a direct parallel in a work bv Donald ludd of
that same year lhg. sl. Both seem indebted to works by lasper lohns, such as llrrgur
wzrh Four I-urns, rqss (fig. 6), llrst shown rn rqsti .rt l.eo tlastelh Gallery and exhibited in
1960 at Mr»l\/1A in Srxzmr Arwrrcaur. Over the ne\t tew months, l,e\\'ur would explore
variations of this idea, culminating in \llrIl Strut ture, |963 (pl. 37l. an ambitious and
complex sculptural relief,
This same year l.eWitt made a handful ol' tree-standing three-dimensional works, fully
leaving behind hoth the plane of traditional painting as a support and canvas as a material
(pls. 34 and 39), " These pieces explore the intersection of two rectilinear geometric forms,
one a solid volume, the other an articulated, segmented lorm. liach of these "structures"­
the term l.eWitt prefers to use for his three-dimensional works rather than the more
sur trwlrr; rot uuwonuuroa
traditional term “sculpture"» is singular and idiosyncratic. The following year LeWitt
made one of the most straightforward, astringent works of his entire career, and one of
the most powerful: Szunding Open Structure Black, 1964 (pl. 47). All divisions and details,
inflections and elaborations, even the skin and surface have been stripped away to leave
only a simplified but striking form. This is the first open structure. lt is resolutely iconic
and stands just over human height, In the same year, l.eWitt completed a small group of
works harking back to Muybridge in a literal and playful way, intimate, voyeuristic, and
including figures in series (pls. 4;-44),
In 1964 LeWitt left his job at The Museum of Modern Art, enabling him to concentrate
on his own work. ln 1965 he had his first one-person exhibition, showing the most truly
sculptural pieces in his entire career, in which space is Cut and displaced, filled and held,
pushed and pulled (pls. 38, 40, and 41). LeWitt, however, was unsatisfied with these
pieces, and in his next step recaptured the structural clarity and simplicity of the open
structure from the prior year (pls, 46 and 48), He later wrote, explaining his decision:
"Disturbed by the inconsistency of the wood,..l decided to remove the skin altogether
and reveal the structure. Then it became necessary to plan the skeleton so that the parts
had some consistency, Equal, square modules were used to build the structures. In order
to emphasize the linear and skeletal structure, they were painted black.” ‘° lt was a short
step to switch from painting the works black to white. As LeWitt later explained: “This
seemed more appropriate for the forms and mitigated the expressiveness of the earlier
black pieces. The white wall structures were visually more a part of a white wall." '7
At about the same time, he decided to maintain a consistent ratio of 1:8,5 between the
material, either wood or metal, and the spaces in between (pls. 45, 51, 53, and 55). “As
with the white color, the [1:s,5] ratio was an arbitrary decision, but once it had been
decided upon, it was always used." "'
The white, open modular structures based on the cube that were the outcome of
LeWitt's thinking and experiments of the preceding years gave him a vocabulary with
great potential and almost endless variety. The first works derived from this set of decisions
were simple and austere, with a clarity and assuredness not seen before. They are the
first and perhaps only works by L/eWitt that truly can be called Minimal art. He would
return to this basic form many times, even recently, and achieve an often surprising level
of complexity and elaboration (pl. 269).
But again not standing still, and not taking lo the reductive corner into which both
critics and champions might have pinned him, the next year l.eWitt created one of the
most ambitious and complex works of his career, Serial Project #1 (ABCD), 1966 (pl. 61).
This work incorporates forms and ideas from the structures of 1963 and 1954 but clarifies
and expands them into a rationalized system. lt marks a significant shift, introducing
seriality-which l.eWitt has defined as "multipart pieces with regulated changes” "-and
positioning LeWitt as one of the formative figures for Conceptual art. Giving precedence
to ideas out of which visual forms could then be executed was firmly placed at the center
of LeWitt's art~1naking,
The following year, 1967, he wrote and published “Paragraphs on Conceptual Art,” a
short text that would serve as a public manifesto not only for his own work but for the
movement of the same name that was emerging. "Sentences on Conceptual Art" followed
in 1969. 2° These texts were not didactic but offered manifold propositions, guides rather
than strictures, in order to open up and renew the possibilities of art, While writing has
not been a sustained interest for LeWitt, the handful of texts he did write crystallized
many of the ideas and concerns of artists at the time, and continue to have a relevance
and resonance for practitioners and people interested in art. They touch on central
issues of creativity, critical reception, and personal and public responsibility that are not
confined to any particular style or period of art, Yet they also reinforce an understanding
of LeWitt`s own work; his structures and drawings perfectly parallel the clarity, precision,
and open-endedness of these statements.”
As a key figure in the Conceptual art movement, LeWitt was invited in i968 to con­
tribute to a project titled "The Xerox Book,” which would create a low-cnst artwork that
could be widely distributed. Each artist was given 25 pages. LeWitt responded, "l worked
out a system of twenty-four permutations of i,z,3,4 using the linear system, The changes
were made by rotating the numbers in four sections of four. "1‘ One page would be a
summary of the resulting twenty-four combinations. l.eWitt then made a leap that would
have a profound impact: he executed two ofthe combinations in large-scale, using pencil
on a wall, for an exhibition at the Paula Cooper Gallery in New York (pl. 86). This idea of
the “wall drawing” would prove to be one of the most fruitful developments of LeWitt`s
career and a radical departure from previous generations, breaking with the tradition
of painting on canvas even at the extremely large scale ofthe Abstract Expressionists. “
While the wall drawings have been the most innovative and celebrated of I.eWitt`s
achievements, works on paper have consistently been the seedhed for new ideas and a
preoccupation of the artist. When he was at an impasse in the late i9;os, drawing was the
activity that freed up his notions about issues of originality and reproduction, relationships
between figure and ground, and working in series. Throughout the 19605, drawings
allowed him to test ideas and carry them forward with logic and creative freedom. For
LeWitt, drawings are not illustrations of ideas that have been fully formed but ways of
seeing those which might be further explored. Whereas he would be happy to have his
own presence and hand absent in the structures and wall drawings, in works on paper his
attentiveness and delight in materials, form, and color are amply evident, The tensions
within his work as an artist deeply grounded in age-old traditions of art yet equally alert
to experimental and new ideas are brought to taut balance and synthesized in the works
on paper. "
The same year that LeWitt executed his first wall drawing, 1968, he also conceived the
even more radical and unusual work Buried Cube Contammg an Object nflmpmnuicc hui
Little Value (pl, 339). Literally burying a cube in the garden of some Dutch collectors, the
work itself is unseen, invisible, the ultimate hidden cube, known by report only. The act
of burial was recorded in photographs, nine of which were arranged in a grid to make
the primary documentation and trace of this work. This hints at LcWitt`s subtle and droll
sense of humor. Two of the photographs show the artist, one standing at attention, facing
the camera, the other digging the hole for the cube. This rare instance of LeWitt including
an image of himself in his work or even in published material shows him in the process

sot ttwvrr; -N wrnuuoermn

 of hiding a cube, the form with which he is so strongly identified. From then on the
artist would, episodically, use photographs as another form of expression of his ideas,
and in the second halt' of the 1970s he undertook several photographic projects (pls.
349-52). The most ambitious such work was Autobiography, published as a book in 1980,
in which LeWitt summarizes his studio, his work, and life in 124 nine-part photogrids
(Pls 345743)-15
From 1968 through the end of the 1970s, books, prints, drawings on paper, wall draw»
ings, and structures were closely related, the various media allowing different explorations
and variations of ideas. The forms and practices which had been developed between 1965
and 1968 were elaborated and extended, and new ideas continued to emerge from this
foundation. The most important example to show this attitude is Incomplete Open Cubes,
1974 (pl. 68), in which the idea of the work is expressed simultaneously in structures,
drawings, and photographs.
The period from the late 1970s to the early 19805 marks a time of transition and break»
throughs, reflecting changes in both LeWitt's personal life and the art world. ln 1978 the
comprehensive survey of the artist’s work was mounted by The Museum of Modern Art,
New York. The challenging and formerly radical status of Minimal and Conceptual art in
general and l.eWitt’s work in particular was now officially sanctioned, By the end of the
seventies, many artists and critics were reassessing assumptions about and possibilities for
art in a more fundamental way than at any time since the mid-sixties. Painting and other
work of a more psychological and expressive nature, with explicit personal references and
social and cultural content, were challenging the rational, intellectual, and systems-based
art of which LeWitt`s was a prime example.
Seeing a fifteen-year span of LeWitt`s oeuvre in the MoMA survey led to a re-evaluation
of an overly narrow and prescriptive view of his art, While certainly grounded in a rigorous
intellectual approach, the beauty and sensuality found in the work took many people by
surprise, including this viewer, ln the catalogue for the exhibition, Robert Rosenblum
opened the door to understanding LeWitt in relation to a broad spectrum of Western art,
leading to unexpected ways to consider the work-for example, in relationship to the
Renaissance painter Paolo Uccello and the Post-Impressionist Georges Seurat. Rosenblum
wrote: "The venerable duality in Western art between universal reason and private aesthetic
fantasy seems freshly reinvented within a contemporary context," He unabashedly charac­
terized LeWitt`s art as "stunningly beautiful," and Rosenblum’s insights seem prescient ot'
the ways in which l.eWitt would move his work forward over the next two decades.”
lt is not unusual for a retrospective to lead to a reconsideration, even if unconsciously,
by the artist of his or her work. LeWitt has not said himself that the 1978 survey was a
signihcant influence on his development, but from today’s vantage point, a distinct
turning point can be seen in the late 197os and early 1980s. Also shortly after the MoMA
exhibition, important changes came in LeWitt’s personal life. That year he began living
with Carol Androccin, and in 1982 they were married, Although he had spent time in
Italy every year since 1971, tn 1980 he and Carol moved to Spoleto, in central Italy
While not completely abandoning the studio on Hester Street in lower Manhattan that

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 In the mid»198os the simple, drawn lines that were the origin of the wall drawings and
their dominant element through the 197os were transformed into bands-structural and
architectonic partners to the environments in which they were executed (pls. 230-32 and
226). Squares were supplanted by cubes, and triangles by pyramids, in myriad configura­
tions; these quickly metamorphosed into linked chains and fragments, playing hide and
seek with their architectural hosts (pl. 170). These ideas were pushed even further in 1988
for a grand installation in the Italian pavilion at the Venice Biennale. At t.l1e center of the
room, irregular faceted forms jutted from the floor like white crystalline eruptions, what
LeWitt would call “complex formsf’ surrounded on the walls by fractured forms rendered
in bright colors (pl. 254). Later he completely dissolved the wall as a visual support, with
origami-like folded shapes extending without recognition of physical boundaries, opening
up a freer and more indefinite sense of space (pl. 247).
Also in the mid-19805, a new material was introduced for outdoor structures, concrete
blocks, which could be obtained almost anywhere in the world, were relatively inexpensive,
and like the elements of the early wall drawings could be deployed by workers with only
basic skills. The lirst such structures were variations on the cube, the essential building
block of LeWitt’s visual vocabulary (pl. 283), But he quickly developed more complicated
ideas, and just as with the wall drawings, the more sophisticated the skills of the people
executing these works, the more nuanced and subtle the results could be (pl. 294).
There was a marked increase in the number of commissions for both private and public
spaces during the eighties. The new character of the wall drawings especially enabled
LeWitt to create works that could hold their own in dramatic architectural settings. In
the nineties, large-scale commissions, both wall drawings and structures, became an ever
more important part of his work.
Without completely jettisoning earlier vocabularies, in the 1990s LeWitt moved into
even freer and more playful ways of working. Contained forms in the wall drawings have
given way increasingly to expansive, open-ended methods of composition-irregular
hands, undulating waves, swirling nets, pulsing and fractured shapes, and most recently
what I.eWitt simply has called "blobs" (pls. 313-14, 326, and 329). His use of color has
become more variegated and complex. In 1997, he began working often with acrylic paint
and the colors are now purer, sassy, and electric. A very recent proposal for new stmctures
extends some of these new ideas into three-dimensional form (pls. 333-38).
Works on paper have remained integral to the development of new directions, and in
fact have been an area of intensified interest in recent years. Gouache, an opaque cousin
of watercolor, which allows greater saturation of color, is LeWitt`s preferred and almost
exclusive medium for drawing on paper. He has made large series of works such as
One-, Two-, Three-, and Four-Par! Combinations nfl/erriral. Horizontal, and Diagonal
Left and Rxgln Brands oftfolon 1993-94, a set of sixty-four 30 x 22-inch sheets (Hg. 8). He
has also pushed the scale to equal that of extremely large paintings on canvas, using single
sheets that measure 5 x to feet, or in the case of Four-Part Brushslrakes, 1994, extending
the length to twenty feet by joining four sheets of paper end to end, each measuring
4 x 5 feet (pl. 361).

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 them. In the most recent work, his unabashed experimentation of the early 1960s has yet
again been absorbed and recapitulated.
l.eWitt has maintained an astonishing openness to new concepts and experimentation.
l-le has been fearless in reinventing the possibilities for his art, while never straying from
the precision and clarity of decision-making that quickly became characteristic at the
outset of his career. At every turn his work and his attitude toward the role of the artist,
as well as the potential of art, have proved to be fertile ground for other artists. Both
intimate and magisterial, open-ended in process and often iconic in result, the work of
Sol LeWitt is among the great achievements of art in our time.

car, rowers
NOIES
i. See the essay by lohn Weber, “sol Lewin:
The Idea. the Wall Drawing, and Public spaee;'
in this catalogue.
e. Alicia Legg. el al..SaIL¢VWr1(New York:
The Museum of Modern Arr, royal.
3, see espeeially Susanna Singsn er al.. sol
Lewmr Wall Drawings ross-rosa (Anrsrerdann
sredelijlr Museum. mu): lererny Izwison, sol
Levnrrs Peinrs me-ss (London: Tale Gallery.
isasis Susanna singen et al.. sol lemme Drawings
mfs-we (The Hague; Hangs cerneenree
museum, 1992); David Batchelor, er al., Sv!
Levwn, Srnunms |962-|993 (Oxford: Museum
of Modern Arr. ms); and Andrea Miller-Keller.
er al., Sal l.¢VWrr Twenry-Five Wars of Wall
Dmwinxf. M8-1993 (Andover, Mass.:
Addison Gallery of American Arr, Phillips
Aademy, \993].
4. Sol Lewin, “Paragraphs on Conceplual
Arr” (1967); quored fronr Legg. sol LeWin.
p, ras; Adaehlara zevi, ed., sol Lelwn Critical
Texts <Roine¢ l Lihri de Amuo, lneonni
lnrernaeionali d' Anr, row, p. yo (also
reprinred in rhe Appendur in rhis earaioguel.
5. sol Leumr Pnmx: ioyo-rpg; opened ar
The Museum of Modern Arr, New York, in
me and eraveled so l-lousion, cleveland, and
nerroir. The eirhibnion was organized by
Wendy weiunan.
rs. for discussions of Lewin in she eonzexr
of various genernrions of contemporary anisrs,
see. in uns analogue, Anne lzorirners essay,
“Approaches lo seriahrys sol Lewin and his
conrernporanesw and Andrea lvlillerel<eller’s
“Variuies of lnnuenees sol Lewin and rhe
Ans Community" which also discusses rhe
Levwn colleerion.
7» Andrea Miller-Keller, "Excerpts from al
correspondence. roar-rosa,” in Susanna singer,
el al., sol Levwrr Wall Drawings .pea-iose.
p. es. Reprinted in Zevi. SolLeWl11 crinrol
Terrs, p. ns.
s. Biographical infornianon comes frorn
various nnuversauons wimh the arrisl Khruughuul
ms, and from published sourees. see espeerally
Adachiara Zevi, "Sul LeWm in Two and Three
Dimensions," ln Sul Lei/WH Crlllcul Texts.
pp. io-is; also Andrew Wilson, “sol Lewin
Interviewed" nasal. reprinred in zevi, Sul
Levarr (§v|r1m1Texts, pp. in-ee,
9. Miller-Keller, "Excerpts fronr i
Correspondence." p, na,
lo. Wilson,"Sol l.eW\!\ lnlervlewed," p 122,
n, Unpublished lecture frorn a symposium
al the Queens Museum u[Arl, 1999, n.p.
re. Wilaun,"Sul Lewin Interviewed," p. rea,
is. und.
ia. For an overview ofthe rnfluenee of
Muylarrdges work on Lewin and his peers,
see Monon und Dornrnenr, seqnenre and Time
eadwenrd Mnybndge and conremporary
Anrenean Phorogmphy. mndover, Mass.:
Addison Gallery of Arneriean Arr, Phillips
Academy/,\991). Lewin is discussed speeineally
in loelr Reynolds, “Framing Tirneq' pp, een
is. For a diseussion of LeWlu's rhreee
dimensional slruclures, see Marlin Friedmank
essay, “consrruerion Sights.” in rhis earalogue.
ia. sol Lewin, in Legg, sol Lemrr, p. 57.
ry. lbid., p. 59.
LB. Ibid.
l9. “Sol LeWiil, "Serial Pmjecl No, I" (l96bL
quored from Legg, sol Leunn, p. ryo, zevi,
Sal Levmr Crmml Terrs, P. 75 (repriured in
rhe Appendix in rhis catalogue).
ao. see reprints oilnnh reins in rho Appenrlur,
zl, For discussion of lhe rmpacl of I.e\A'm’s
writings, see Andrea Miller-Kcller`s essay ln This
catalogue. The mos! eornprehensrve anrhology
of l.ewin's wrinngs ra in zevi, Sol l.e\¢Grr
cnrieal Torn. pp. ap-99. for larieieonn-nenrarres
hy Lewin. espeerally ahour individual works,
see Lcg,g,SolLe\4H1l.
ee. Lewin in Lrgg,SoVLeWl1l, p, ss.
15. see rhe essay by Brenda Richardson,
"Unexpected Directions: Sol LeWi\l`x \4L1l|
Drawings," in rhrs analogue.
ea hor a full overview of Lewirvs draivnigs
on paper, see singer, sol Le\*hn‘ lvruwlngs,
19524-|992
es. See Adam welnbergs essay, “Lewin's
Aurolnugraphy lnvenrury of rhe l>resen¢," ln
rhis oaralogue,
ep, koherr Ro§enb1um,"No\:5 un sol LeWm,"
in Legg,5alLe\¢Gr1, pp, isfei; reprineed in zevr,
sol Lelwn Crrrrral Tears, pp, sorely; quore in
Legg, p. is; Zevi, p pole.
27. Gary carrels, ‘>\ Conversation wnh sol
Lewin," in opens The Mngoelne of rhe san
Fmnflsca Museum o]'l\/laden: Ar! l (\’Vin\:r/
Spring moo), P 53,
sal Lrwlrr: an wvnonucrlou
71

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 UNEXPECTED DIRECTIONSI SOL LEWITT'S WALL DRAWINGS

Brenda Richardson When asked if he accepted as accurate a published description of himself as "the originator
ofwall drawings," Sol LeWitt replied dryly, "I think the cave men came first."‘ Though
cave drawings are appreciated as art, the actual motivations of the cave dwellers in drawing
on their walls may never be known. Few would suggest, however, that the graceful drawings
discovered on prehistoric cave walls were products of self-conscious, informed, conceptual
thinking about the nature and meaning of art and the boundaries between the artwork,
the space in which it is presented, and its viewers.
LeWitt first drew an artwork on the wall in October 1968 for u group show at the
Paula Cooper Gallery in New York. The artist had been thinking about working directly
on the wall for more than a year.‘ He had come to feel that it was sensible to eliminate
the mediating "support," an approach that would reinforce the llatness he wanted in
his drawings. In the first two clauses ofa text he titled simply "Wall Drawings," published
in 1970, LeWitt wrote: "I wanted to do a work of art that was as two-dimensional as
possible .... lt seems more natural to work directly on walls than to make a construction,
to work on that, and then put the construction on the wall."‘
That hrst drawing on the wall-an untitled installation subsequently catalogued as
Wu1lDruwing #1, Series II14 (A df B), a descriptive identification that derives from a serial
system of permutations LeWitt generated in 1968-was an almost unimaginably radical
act that dramatically influenced the evolution and sequential redefinitions of art over
subsequent decades (pl. 86). The radicality of LeWitt`s wall drawing was not so much
about drawing on the wall per se, which, as the artist himself notes, had precedents
back to prehistory and, perhaps more to the point, had developed naturally within the
sensibility current among LeWitt and his contemporaries in the mid-sixties, Rather, the
revelation of this first wall drawing was in its frank temporality, its seeming obliviousness
to issues of commercial viability, and in its conceptualizer`s denial of the exclusivity of
authorial execution of a handmade artwork. These are the characteristics of LeWitt’s
wall drawings that confound most viewers.
In terms of the marketplace, LeWitt’s wall drawings, quite simply, redefined the terms
by which art could be purchased and owned. At the time of that first wall drawing, however,
the artist was not thinking explicitly of the market issues: “I didn`t think about selling
them but it wasn’t a ‘gesture` as an anti-market ploy either,I never think about selling a
work while doing it."‘ Eventually l.eWitt worked out a system that might best be described
as confirmation of custodianship, that is, a signed certificate and an accompanying drawing
with directions (the certificate is a legal document that authenticates the work in any
subsequent sale or transfer; see hgs. 45-46). Such certificates of authentication have become
common among contemporary artists (Carl Andre, Dan Flavin, Felix Gonzalez-Torres,
and Ienny Holzer, among countless others) whose works are industrially fabricated
and/or subject to unauthorized replication.

rig. 9. Wal/ Drawfnq #679, 1995.

Acrvtn: vamt. courtesy Pacewtldenstein,
New York,
 I,eWitt’s wall drawings are exceptional
in this context, however. They are neither
industrially fabricated nor assembled from
comntercially available components. The
wall drawings are handmade, often requiring
subjective decisions by the draftspeople and
always reflecting idiosynciasies in mark-making.
(ln fact, as LeWitt`s wall drawings have grown
ever more elaborate in recent years, satisfactory
execution of the worl<`s directions demands
at least the supervision and often the hands of
the artist`s experienced, professional assistants)
Even more radically, however, LeWitt abjured
the proprietary rights imposed by his fellow artists. Until at least the mid»eighties, LeWitt
held that his wall drawings, regardless of their "ownership" status, could be copied by
others at will-assuming the copier conscientiously followed the artist’s instructions. To
l.eWitt, a laithful copy was a compliment to him and to the artwork (even as such copying
would more typically be construed as forgery and, depending on circumstances, very likely
might be ruled illegal). Over the last decade, the artist`s views on this complex subject
have evolved, and he is now reluctant to endorse the notion ofhis wall drawings being
executed without his explicit authorization and oversight. Reflecting recently on the issue
of"copies" of his wall drawings, l.eWitt acknowledged that his initial views were overly
idealistic. At the time, he wanted to believe that "anyone with a pencil, a hand, and clear
verbal directions" could execute credible versions ofhis wall drawings. On the evidence,
he has come to understand that his confidence was unrealistic and he now concedes that
he was mistaken in espousing such a position, LeWitt is explicit in articulating his concern
that "bad copies” could masquerade as authentic LeWitt wall drawings and, consequently,
debase the form, l`hat is, however, an entirely different matter than variant artist-designed
installations of the same wall drawing; l.eWitt welcomes the existence of multiple versions
of the works. “Ideas cannot be owned," LeWitt has written. "They belong to whomever
understands them. The piece takes physical form and becomes an ohiect. This object may
be possessed." ‘
Seminal as I.eWitt's i968 move was, his decision to draw directly on the wall was
not without a context. Artists throughout history have drawn and painted on the walls,
floors, and ceilings of buildings as interior decoration or architectural ornamentation.
ln earlier centuries such work was often commissioned by church or state as a purposeful
extension of its agenda, Iiqually significant in terms of LeWitt`s turn to wall drawings are
earlier t\ventieth-century artistic precedents. LeWitt points to the 1962 publication of
Camilla Grays monograph on modernist Russian art as having had a profound influence
on the way he and other artists of his circle thought about their own art. Gray`s book,
T/it'tirt~n1 l:.\'/vcrirzwiit: Ritssmn Art 12163-1922, focused prominently on the work of the
(lonstrttctivists and Suprematists during the decade between igio and 1920 (fig.1S).
This was the first in-depth study, including extensive illustration of works previously
unpublished, ofa remarkable body of work that was a revelation for its inventive forms,
experimentation with new media, and sociopolitical engagement. l.eWitt describes
the book as "crucial" to the evolution of his work in the early 196os." Looking to the
192os-30s, virtually every facet of Aleksandr Rodchenko’s art and thought is relevant
to LeWitt’s development (as to so many others ofhis and the following generation ot'
artists), including the Russian`s exploitation of seriality, a strictly controlled palette,
integration of photography as artwork, book design, constructing sculpture ofsimple
geometric forms in wood, and exploration of architecture and interior design as social
engineeringf The development of visual art as part of its larger setting also was advanced
by early modernist Russian artists who became active collaborators in the theater and
ballet, creating stage designs (painted backdrops and front curtains) that demanded
architectural scale and implied projection into the audience’s space,
Ideas about the ways art and architecture, like theater, involve both time and space
emerged concurrently in Germany at the Bauhaus and in Holland among the De Stijl
artists, Beginning in 1920, Piet Mondrian treated his studio “as a neoplastic environ­
ment ,... attaching rectangles of primary colors to the walls,” and he used a similar
scheme for the set design he created in 1916 for a play written by the Belgian painter
Michel Seuphor. For the historic Greater Berlin Art Exhibition 1923, the Dutch artist
Theo van Doesburg made a three-part wall painting, the Russian artist El Lissitzky created
his Proun Space room installation that incorporated geometric shapes painted directly
on the wall, and the Hungarian artist Laszlo Peri made a site-specinc Three-Part Space
Construction of painted-concrete wall forms.” For the same exhibition, the Dutch artists
Vilmos Huszar and Gerrit Rietveld collaborated on a design for a room (never realized)
in which red, yellow, blue, black, and white rectangles painted on the walls, ceiling, and
floors would animate the space and simultaneously demarcate and counter the interior’s
basic architectural elements'° (fig. io, compare with LeWitt`s Wall Drawing #711 [pl_ 259] ).
The synergy in this international conjunction of artists and ideas resulted in a period of
exceptional art historical significance, and it was at this moment that installation art was
presaged as an influential form.
Marcel Duchamp was among the most vital carriers to the United States of European
modernism and its audacious and sometimes playful invention. Invited to design the
installation for the 1942 New York exhibition First Papers ofSurreulism, Duchamp choreo­
graphed a setting that prefigures work by LeWitt and, even more explicitly, the art of
LeWitt’s close friend Eva Hesse." Duchamp draped, wound, twisted, crisscrossed, and
looped one mile of string through the exhibition space, from floor to ceiling, webbing the
space, including over and among the freestanding partitions on which the art was displayed
(ng, ii), thus creating physical impediments to the free movement of those wishing to
view the exhibition. Even as the string installation was conceived as a kind of stage setting
for a specific exhibition, it is impossible to look at photographs of Duchamp‘s installation
without understanding that it is an extraordinary and avant-garde exemplar of bodies
of work that would emerge fully in America only a quarter century later. LeWitt knew

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4
rig. 12. Eva Hesse, Ac:ret1on,l96B,
Finerqtass and nolvester resin.
Collection of the stroller-Muller
Museum, 0ttertu_ the Nettterlanas.
Frq. 13. Mel Bocnnen Deqrees (1801
3617). 1968-70. View nt tnstaltatmn
at Galleria spernne, tuna, 1970.
Corn, na1|s.ann charcoal on wall.
Courtesy at the artist.
Ug
Frank Stella was painting stretched canvases more than twenty feet in length, and
Al Held showed wall-sized works in his 1967 exhibition at the André Emmerich Gallery.
lt was impossible to present painting and sculpture of such dramatic size without
implicating the spaces in which the works were presented. Walls, floors, and ceilings
became, almost by definition, part of the artwork. And certain artists were already
addressing architectural interiors as explicitly integral to their art. Sol LeWitt`s earliest
wall and floor structures date from 1962-63, and his earliest modular structures were
created in 1964. From 1965, the seductive glow of Dan Flavin`s fluorescent light sculptures
appropriated everything (and everybody) in their vicinity. Beginning in 1966, new forms
included Carl Andre’s floor grids, Donald Iudd's wall stacks, Barry Le\/als floor distribution
pieces, and Bruce Nauman's neon wall sculptures. Also in 1966, Andy Warhol papered the
Castelli Gallery with his Cow Wallpaper (an installation that must have resonated with
LeWitt, as with so many others). ln 1967-68 Richard Tuttle created his dyed and shaped
cloth pieces, conceived for display on either the wall or the floor, and in the same year
Iames Turrell reshaped interiors with his projected light images.
Cast shadows and negative space became signihcant components of artworks, none
more so in relation to LeWitt`s art than those in Eva Hesse`s work (like the progression
of shadows cast by I-lesse`s Accretion of 1968, a long row of fiberglass tubes leaned along
a wall, Hg. 12). Hesse`s work from 196; until her death in 1970 reveals its indebtedness to
LeWitt and, the evidence of their art suggests, vice versa. The seriality and geometric
order of Hesse`s drawings inextricably link them to LeWitt`s drawings of the same years.
Mel Bochner‘s work, too, echoes LeWitt`s at this time (and, as with Hesse and LeWitt,
vice versa). The relationship among LeWitt, Bochner, and Hesse was especially close,
and their shared dialogue about art and ideas is evident in the overlapping sensibilities
of their work. Bochner’s 1969 Degrees, a wall installation (fig. 13), reflected his i11tellectual
engagement with geometry and numbers and, introducing the bold language of his rigor­
ously beautiful measurement works, almost certainly had significance for LeWitt`s future
discourse, As LeWitt wrote in his “Sentences on Conceptual Art" (1969). "The words of
one artist to another may induce an idea chain, if they share the same concept. "’°
uurtvrcrcu nraccriausr soc trw1rr's Witt uatwiues 41
 In March 1969 one of the most important exhibitions in the history of modern art,
featuring much of this new work (including a LeWitt wall drawing), opened at the
Kunsthalle Bern in Switzerland. Organized by the renowned curator Harald Szeemann,
When Attitudes Become Form included the work ot' sixtyfnine artists whose art looked like
nothing conventionally defined as "art, "" Szeemann`s exhibition catalogue is astonishing
in its documentation of an artistic revolution that took place over little more than a
half-decade in which art and ideas became virtually indistinguishable. As the artist Scott
Burton wrote in an eloquent preface to the catalogue, ‘2»\rt has been veritably invaded by
life, if life means flux, change, chance, time, unpredictability. Sometimes the difference
between the two is sheer consciousness, the awareness that what seemed to be a stain on
the wall is in fact a work of art," "
Perhaps the most compelling question about Sol LeWitt’s wall drawings is what they
mean, They are beautiful as visual art, and they are intelligent as Conceptual art. But
what is any given wall drawing when it doesn`t exist, that is, when it`s been painted out
and has object definition only as a certificate and a diagram? ln his text for When
Attitudes Become Form, Scott Burton, writing of a temporary installation (a Bill Bollinger
rope piece), could as well have been writing about l.eWitt's wall drawings:

The rnostfundarnental law ofnature is that everything that exists in space also
exists in time; artists today work with that knowledge in unforeseen ways .... But
what happens to it when it is disassembled? Does it still exist? lfsa, does it exist as
rope, as potential art, ur as art? Its installation is made synonymous with its existence,
whereas a painting orfixed-form sculpture, no matter how radical its esthetic, does
not literally cease to be when it is in storage. The ontological instability ofthe Bollinger
piece introduces, on the psychological plane, an experience ofanxiety about being,
which has been the chie/"subject ofphilosophy since Descartes. Consciousness as
pro/Jfofexistence is translated in esthetic terms: conception as method ofcreation. 'S

Since that first work in 1968, LeWitt’s wall drawings as ideas have dramatically
advanced not only our definition of what an art "object" can be but also our understand»
ing of how intimately and provocatively art can penetrate our daily lives. Like LeWitt’s
books, which are (counterintuitively) so closely related to the wall drawings, these are
works that exist in a particular time and place, that is. in a unique relationship not so
much with the viewer`s eyes as with the viewer’s mind and sense of being. (The books,
it is true, like the drawings on paper that LeWitt generates so prolitically and with such
incredible energy and invention, exist as tangible things that do not go away at the end of
an exhibition or when a house is sold or redecorated.) In the course of more than three
decades, however, all of these interrelated works-drawings on paper, books, and wall
drawingsfhavc evolved markedly in terms of what they look like, They have matured
with the artist and, in aesthetic terms, they have grown bolder and more dramatic, The
earliest wall drawings were precisely that: transferences to the wall of LeWitt’s exquisite,
delicate, nearly ethereal drawings on paper. ln other words, the artist (or designated

as wiersrassn
assistants or draftspeople) more or less transcribed a preexisting work, adjusting for scale
and adapting materials to wall surfaces typically less forgiving than paper. These early
wall drawings had no inherent relationship to their location.
Andrea Miller»Keller queried LeWitt as early as 1981-83 about the apparent shift in his
wall drawings "from being chaste and reticent to being more assertive, sometimes very
colorful and occasionally even exuberant." To which LeWitt replied, "When presented
with the scale that walls have one must begin to engage their physical properties. The
theatrical and decorative are unavoidable and should be used to emphasive the work," ’“
The work makes it very clear that initially LeWitt developed his ideas by moving sequen­
tially through his preferred mediafbooks, then drawings on paper, and Gnally drawings
on the wall. Later (certainly by ig8o, perhaps earlier), and specihcally in response to his
experience with wall-works, the artist seems to have reversed the conceptual sequence,
processing ideas first in wall drawings, then translating them in drawings and books.
Whatever the sequence of influence from one medium to another, the dialogue among
these works has been essential to LeWitt, The link between wall drawings and the ostensibly
very different media of books and discrete drawings on paper is about rational permuta­
tions ofa given idea, about seriality and conceptual coherence, about each new installation
(or sheet of paper or page ofa book) building on the one that came before. As we turn
the pages, literally or metaphorically, we develop a context and come to see the whole as
a product of each preceding part.
LeWitt’s wall drawings were created essentially without regard for the specihcs of their
architectural settings for only about two years. A turning point for the work occurred in
the summer of 1970 with Wall Drawing #51 in Turin (pl. 97), for which LeWitt’s directions
were site-specific (‘7\ll architectural points connected by straight lines”); the drawing
was created by three draftsmen using blue chalk snap-lines to demarcate "every possible
connection between corners of light switch plates, elevators, door frames, and walls.”
In I.eWitt`s own words, “the theatrical and decorative" thereafter informed each and every
drawing idea, and the wall-works came to inhabit rather than just visit their sites. lt was
between 1973 and 1976 that the artist`s respect for the function of language was made
most explicit in the wall drawings. In some wall-works of those years, words were incor­
porated bythe artist as integral visual components, sometimes nearly dominating the
abstract geometric forms to whose shapes they conformed. In certain of the memorable
“location” drawings of this period (for instance, Wull Dmwing #274, “The location of six
geometric figuresf’ 1975) the crayon shapes served as corrals for LeWitt's meticulous written
instructions-words that carry the force and rhythm of concrete poetry. In other wall
drawings (notably the extraordinarily complex 1976 installation at Spoleto’s Torre Vecchio,
Wall Dmwing #301, “The location of lines and geometric figures," pls. 13213) LeWitt’s
words cannot be corralled, and the neatly penciled, block-printed fragments of language
distinctly dominate the lines and figures. The artist's succinct but somehow always
evocative verbal directions consistently accompany the wall drawings (sometimes printed
as a formal design element in the work, sometimes in a nearby printed label), though in
recent years words have subtly assumed the role of subtext more than text,

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 The next notable evolution in the work came in 1975, when LeWitt introduced new
ground colors. Until then, the wall drawings had been limited to black or colored pencil,
crayon, or chalk on white grounds. But for wall Drawing #245, drawn in April 1975 at
the Daniel Weinberg Gallery in San Francisco, LeWitt specified a black ground; and for
Wall llmwnxg #254, drawn in May 197; at The Baltimore Museum ofArl, the artist called
for a yellow ground. In 1975, too, I.eW1tt began delegating significant compositional
decisions to the draftspeople. Although the Weinberg and Baltimore drawings were very
different in appearance, the artists directions for the two works were exactly the same:
"White lines froni the center of a [black/yellow, respectively] wall to specified random
points. ('l`he specific location ofthe points is determined bythe draftsman.)" The distinc­
tiveness of multiple installations ofthe same wall drawing idea derives primarily from
three variables: architectural setting, color, and the decisions and technical handiwork
ofthe draftspeople.
Other innovations followed year by year. ln late 1975 geometric shapes appeared in out­
line in wall drawings (initially in the "location" works and then as independent geometric
abstractions); by 1980 the shapes could be filled with parallel lines in a single color and,
slightly later, contrasting colors. In 1981 LeWitt introduced geometric shapes solid with
color; black India ink and toned India ink washes as a medium; secondary colors (orange,
purple, green); shades of gray; and isometric projections. Color ink washes were not used
until 1983. Increasingly, the wall drawings encompassed whole rooms, extended interiors,
fixed architectural elements, and even moved outdoors. LeWitt`s wall drawings consistently
reconfigure spatial perceptions. The wall-works, now often vibrant with color and always
irresistible i11 their visual appeal, are never simply decorative because they so clearly
reflect the logic and conceptual complexity oftheir ideas, Some ofthe wall drawings give
definition to the features of their sites, while others counterpose the architectural forms
to which they are applied.
The diverse optical effects that characterize camouflage in nature bear a coincidental
relationship to certain of I.eWitt’s pattern applications. Many plants and animals survive
and prevail hy virtue ofthe protective coloration or disruptive patterning that camouflages

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rig. 15. son Lewin, Pmrminq Form
rn/an ana wnrre gamma/age), ea. 1953
Pamten wana. ceitefnan ot ram and
Jane Doyle, Raxnury, cenneeticut
them from predators, Beginning in World War I and based
specifically on an understanding of the effectiveness of natural
camouflage, international military forces introduced camouflage
programs to protect troops, artillery, supplies, and ships.
Disruptive patterns (first used by the British and dubbed “day/le
painting") were designed especially to camouflage ships; bold
striping and geometric forms were painted on naval vessels to
disguise their shape and length and to confuse the enemy about
Y thc direction in which the ship was moving (fig. 14). Although
l.eWitt is not familiar with dazzle painting per sc, hc created a
work in the early sixties that he describes as "a camouflage piece."
A three-part relief sculpture of painted wood, it is constructed of
a horizontal beam cantilcvered off a deep-sided square panel attached to the wall (fig. 15).
All three elements arc painted in the same hold black-on-white pattern of iagged-edged
abstract shapes. This is a classic "disruptive" camouflage pattern, a form of camouflage
made all the more effective in nature by virtue ofbeing pattern-on-pattern." Lewitt has
used patterns for wall drawings that look similar and work to much the san1e effect: the
applied design counters the viewer's intuitive understanding of known structural forms,
thus demanding a heightened perceptual and conceptual focus on the conhguration of
the architectural setting (see pl. 243).
In the 19905 LeWitt began to favor acrylic as the primary medium for his wall drawings.
lt was the first new medium to be used consistently since he introduced lndia ink in 1981
and the first medium to alter the fundamental aesthetic course ofthe wall drawings. By
adding acrylic to his regular inventory of materials, he began working on walls in what
is technically a painting medium. Pencil, crayon, chalk, and ink-the materials used by
LeWitt for his wall drawings since 1968-are traditionally identified as drawing media."
LeWitt continues to use the term "wall drawings" for this body of work, regardless of the
medium in which the work is executed, Acrylic (and, in short order, the varnish layers
sometimes added to give the acrylic works their density and high gloss) revolutionized
both the style and technique of LeWitt`s wall drawings.
If-in purposefully somewhat anthropomorphic terms-the wall drawings evolved
from reserved and evanescent (19605) to calculated and austere (197os) to colorful and
exuberant (|980s), the works of the 1990s are audacious and unyielding. In their most
neutral incarnation-as stand-alone "paintings" presented i11, say, group exhibitions and
without any inherent relationship to their settings-the more recent wall drawings are
frankly decorative. LeWitt`s superheated 19905 palette features brilliant, intense hues; the
drawings' simple geometries in arcs, waves, and rectangles, often intersecting at unexpected
conjunctions, are composed of broad bands and sometimes include "framing" bands.
Altogether, these late 199os wall drawings are appealing, complex, and theatrical at the
same time.
The most surprising element of recent wall drawings (for example, Wall Drawing
#901, 1999, pl. 326) is a fluid form described by LeWitt as "a blob," the name presumably
unrxpreren niw¢cr1o~s:sut Lrwivrs watt ewrtwians
 inspired by the amorphous viscosities of science Hction and horror films, LeWitt’s blob
also fits generally within the family of shapes created by Matisse in his cutouts, and
performs much the same function (as is evident, for example, in a Matisse cutout like
Black and Violet Arulresques on an Orange Background, 1947), This is not at all surprising,
given that the blob entered LeWitt`s work at about the time he was offered the prestigious
and high-profile commission to decorate the two-story, window»walled entrance foyer of
Christie`s at Rockefeller Center in New York City. It would be natural for LeWitt to look
again at the masterly decorative schemes from the last decade of Matisse`s life, (One of
the most important of those works, The Swimming Pool of 1951, is in the collection of
New York’s Museum of Modern Art and is a Matisse with which LeWitt would be
intimately familiar.)
LeWitt`s decoration for Christie`s entrance, Wall Drawing #896, Colors/Curves, 1999,
is a stunning artistic achievement and definitively raises the bar for public art (pl. 312).
Tantalizing segments of color and shape are visible from the building’s exterior, framed in
the vertical rectangles of second-floor windows and street-level glass doors. The interior
space is more compressed (smaller, and higher) than expected. Waves of deep contrasting
or complementary colors~orange/blue, red/ green, black/violet, black/yellow, black/white`
cover the walls in shapes made utterly compelling by the harmony of their asymmetrical
dialogue with the architectural elements of the space. The design of the overhead window'
wall is sheer brilliance. Large, white, skewed-ellipse shapes are rhythmically fragmented
by the window and black-painted wall verticals. Slowly, the viewer visually reconstructs
the primary forms, living the illusion that the ellipses hold their shape as they span the
"Cutouts" of window light. Colors/Curves is an enchanting homage to Matisse and, with­
out question, a transcendent expression of LeWitt`s conceptual and visual gifts. There
is not so much as a hint of the ephemeral in this work. One senses that Sol LeWitt may
be in conversation with his cave-artist forebears, By now, LeWitt has created many other
“permanent” site-specific wall drawings, but Wall Drawing #596 clearly stands apart: the
artist conceived this mural painting, in its historic location, to be unique and forever,
Whatever the evolving mood of the work or the attitude of the artist over these three
decades, the wall drawings have been consistently graceful, seductively beautiful, and
intellectually rigorous, Much of the awe and delight in the wall-work derives from the
surprising visual splendor that is drawn from verbal directions that are reticent, straight­
forward, and commonsensical (very much like the artist himself). LeWitt originated and
fostered this new art form with clarity, generosity, and humility. He writes about art so
directly and honestly that he seems to suggest that what he does is simple, somehow a
small and humble thing. He keeps no secrets. LeWitt`s "Paragraphs on Conceptual Art"
(1967), "Sentences on Conceptual Art" (1969), "Wall Drawings" (1970), and "Doing Wall
Drawings" (1971) spell out everything one needs to know about his artistic endeavor and
his convictions in relation to the wall drawings." Mel Bochner said that the main thing
he and Eva Hesse learned from Sol LeWitt was "a sense of ordered purposefulness, You
did your work as clearly as you could; what you didn’t know, you made apparent you
didn't know. That`s a lot more important than maybe it sounds.”"

e was were asa

Notes
larn indebted to my colleagues Alicia Legg,
Andrea Miller-Keller, and Susanna Singer. It is
impossible to write credibly about Sol l.¢Witt`s
wall drawings without relying on their work.
For illustrations and directions on individual
wall drawings as well as for detailed information
about materials and techniques, readers should
refer to two volumes edited by Susanna Singer.
sol Lel/Wt: wall Drawings igsotuda nasal and
sal Lettntr wall Drawings into-top; tional. ln
addition, the extraordinary publication docu­
ntenting the landmark typ; retrospective eithir
bition of lJeWitt's wall drawings at the Addison
Gallery of Arnerican Art, with its informative
text by Miller-Keller, is indispensable.
1. Quoted from Andrea Miller- Keller, "Excerpts
from a Correspondence, rust-t9ar.“ in Susanna
singer, et al.. sal b¢lMn Wall nntwings ipntetpaa
lArnsterdarn= stedeliilt Museum, rosa). v. at. lt
was curator Alicia Legg who described LeWltt
as “the originator of wall drzwingsf' tn her
introduction to the important 1973 catalogue
published to accompany the retrospective
exhibition of leWitt`s work that she organized
for The Museum of Modern Art.
a. Miller-Keller, “rateerpts frotn a
Correspondenref' p. ts.
,_ First published in toyuquoted from the
reprint in “Writings of sol Lewin," in Alicia
Legg, et al.. Sol Le\'Wl1 lNew York: The Museum
of Modern Art. royal, p. iso (reprinted in the
Appendix in this eataloguel,
a Millereltellen “Excerpts front a
Gorrespondencef' p. ls.
5. See Millerelceller, “Excerpts front a
Correspondence,” pp. te, aa. Sol Lewin articur
lated his revised views on "copies" of his wall
drawings in a telephone conversation with
the author on 9 October 1999.
6. LeWitt called out the importance of the
Gray book to him and his contemporaries in
a telephone conversation with the author on
aa August typo. The Gray hook was published
in New york by Harry N. Abrams in iota.
7. See Magdalena oahrnwslti, Leah
Dickerlnan. and Peter Galassi, Aleksandr
Rodchzrllw (New York: The Museum of Modern
Art, tugs),
s. Mildred Friedman, ed., De Srgl: tot;-lust,
visianr of Utupiu (Minneapolis and New tort;
Walker Art Center and Abbeville Press, 1982).
p. aan. See also Nancy l. Troy, The De Str/I
Environment (Cambridge, Mass; MIT Press,
rosa), for a comprehensive overview of
this material.
9. See Margit Rowell, The Planar Dlrnenslml.
Europe, |912-|932 (New York: The Solomon
lt. Guggenheim Museum, ipypi, featuring
Rowell's important text, "The Planar
Dimension tate-inset From Surface to spaee,"
pp. wat, a thoughtful exploration of developr
ments in art that have particular application to
LeWitt`s work; see also pp. iys-57 (Perle Thypp.
part Spare cnnttrucnpnl .ind pp. ntl-ad
(Lissitzky's Pnntn space).
tu. see Friedman, De Slnl. p. ns treproduced
in color).
tt. Such Hesse works as Right After, into
(Milwaukee Art lyluseunil, and Untitled, tuyo
(whitney lvluscutn of American Art, New
York), bear a stunning formal relationship to
nuchnrnps One Mile o[S1rmginstal|atlon.
Responding to an inquiry from the author
(MAY 1999), Sul Lewin reported that he was
not fnrniltar with l)uchamp's One /vltle nfstnnp
Given the close relationship between LeWltl
and Hesse and their constant discussions about
art, this ts persuasive evidence that l-letse trio
was unaware ofthe Duchamp wort.
te. Sentence #14 in "Sentences on Conceptual
Art” (tony), quoted from l.egg,$ul1.clwtt.
p. ras.
ty. LeWitt`s contribution to the exhibition
was Wall Drawing ms Drowrng sertos 1 t ut aa
B) und 111 t (A ef BJ, Although when Attitudes
Become Form was on view at the Kunsthalle
Bern from as lt/larah to ay April toad. this
work ls documented in Singer, Sol LeWllt
Wull Drawings was-tgsa. p. isa, as having
been drawn hy lvlarltus Raetz in May rosa.
Presumably March |969 (rather than May 1969)
was the date ofthe wall drawings execution.
Of the sixty»nine artists ln the exhibition,
Hanne Darboven, Eva Hesse, and lo Ann
Kaplan were the only women included, with
the work of both Darhoven and Hesse closely
linked to that of hewitt,
ta. Stott Burtort,“Notes on the New."
When Attitudes Become Farm: Works­
cnnreptseproecsses-strvortanselnfnrniatitni
lnerns Kunsthalle Bern, tyco). n.p.
ts. lbid,
16, Miller-Keller, "Excerpts from a
Correspondence," p. 19.
17, Andrea Miller-Ke|ler,"Sol LeWltt;
Twenty-Five rears of wall Drawings," tn
sol Lel/Wit: Twrntyrrlve Years of Wall Drawings,
tous-tw; lAndoyer,Mass,,.1nd saattlrs Addison
Gallery nf American Art and university of
Washington Press, l993>, P- 41­
unsxvttvtu uiaecriorisz sat ttwtrws watt urtawtwes
nt. Lewin personally called his “carnuntltige
plete" to my ntlenlion in a telephone conver­
satinn of ay /\ugust199g,nf\er he had read
the linal manuscript of this essay ln which I
addressed the coincidental relationship between
patterns tn eertntn of Lewitrs wall drawings
andthe patterns used in military datzle
(camouflage) painting. l,ewitt's eaninutlape
piece has never been catalogued, published, nr
professionally photographed, The piece belongs
to sculptor Toni noyle, tu whpni Lewttt traded
it at the time it was made in the early luéos.
lewittls sarnuurlage pieee today hangs in the
Connecticut home o|"lbm and lane Doyle. l
want to express my warmest apprectutlotr lu tht­
Doyles who, at Lewitts request, phntnpraphcd
the painted sculpture in situ in order to provide
inc with snapshot trnages ut the work.
tu. stnee artists ofthe twentieth century
hare used a variety ot rnetha on a variety of
suppurtkwtthtsut regard for traditional
dnttnrtians between rnatertalsaatalnguers
are often challenged as tu how to categorise
warts. tor formal cataloguing purposes,
rnost American museums identify worlts by
their support rather than by thctr rnedtnnt.
Atcordingly, an acrylte-onrpaper is a drawing;
an aerylresunscanyas for on hoard ur wall)
is a pa1nt\ng.S1mllarly,an inlt-onepaper is a
drawing, but an inlteuneeanvas is a painting.
Such distinctions. based on the artworks
support rather than its rnedturn, are generally
practical in relation to museum storage
systems and eonservanan speetalisatiuns
lart eonservaturs speetalise and are trained
on the basis of support materials, op., paper,
canvas, wood, metal).
ao. All four ofthese tens are reprinted in the
Appendix in this eatalogue. l borrowed the title
ofthe present tart, "Unexpected Directions,"
from Sentence #tt ol' LeWitr`s "Sentences on
Conceptual Art."
rt. Mel Bochner, quoted in Lucy Ltppard,
Evtvl Hesse (New York: New York University
Press, tam, p. rut.
 X
?
a

§
.
\

mum.
 CONSTRUCTION SIGHTS

Martin Friedman Imagine an artist first associated with the purist view of form generally known as
Minimalism-in fact, one of the progenitors of its uncomprornisingly anti-expressionist
theology-suddenly making enormous, softly contoured, brightly colored sculptures.
some planned to be thirty-six feet high and fifty feet long. Might the unimaginable be
happening: could Sol LeWitt be entering a heady romantic phase? So exotic are these
new entities, particularly in relation to his readily identifiable geometric structures, that
you might think they dropped in from outer space. In vivid contrast to his production
ofthe last four decades, these incipient artistic extraterrestrials are less about stasis than
movement. Some, in fact, seem to he in the process of inflating or deflating.
However improbable these multicolored, quasipneumatic forms might seem in the
LeWitt canon, they are by no means his illegitimate artistic progeny, They were planned
for a forested site in the New lersey Pine Barrens where, ideally, LeWitt says, there could
be as many as a dozen pieces in individual settings; and, for all their seemingly relaxed
presence, they derive from meticulously detailed schematic drawings that resemble a
surveyor’s land contour studies. Yoshitsugu Nakama, LeWitt's longtime model-maker,
has translated their paisleylike outlines to volumes in a group of hberglass maquettes.
(pls. 333-38). Even if their projected scale, rotundity, and glossy, intense color suggest
a radical break with his heretofore consistently geometric imagery, their immediate
ancestry is readily detectable. Their sinuous, if quirky, outlines were largely anticipated
in his drawings of the early 199os, especially those whose wide bands of loosely brushed
color coalesced into quasigeometric shapes, some looking like squeezed circles. Slightly
earlier sculptural antecedents are the stark-white, sharp-edged “complex forms" LeWitt
fabricated in wood and aluminum in the late r9Sos. But even more immediate precedents
are his wall drawings-actually paintings-of the past few years, those great oceans of
color whose soft organic contours subliminally allude to landscape contours, distant
horizons, even to human anatomy,
Although Sol LeWitt may have seemed to be pursuing different stylistic directions
in his structures and wall drawings, they have always been inextricably related: his work
in one medium has always affected that in the other. Even when their forms have varied
widely, they have shared imagery and concepts of generation. Now, as revealed by the
maquettes for the large constructions proposed for the Pine Barrens in response to a
possible commission (whether or not rhey are realized at full scalel» the artist is bringing
together two long~separated aspects of his work, the theoretical and the sensuous. Not
since the early 1960s, when he painted his first geometric constructions with vivid reds,
blues, and yellows, has he embraced color with such gusto. LeWitt`s arrival at his current
vocabulary of soft curves, weighty masses, and full»throttle primary and secondary colors
is the latest stop on a stylistic journey that began some forty years ago,

rig. is sm Lewin, mg.//an Progression.

|991 concrete num. cfnntesy Rhona
Hoffman Gallery. cniearm
Fra 11 oanain Jaan, L/"titres 1965
Aluminum caiieetiarr at me whitney
Museum or American Art, Ptirenase.
witn forms from me Howard ann
Jean tipman ratmaatien, me
r1r
ln the early 196os, The Museum of Modern Art was a fertile, if unofficial, seedbed for
a vital new American geometry. Among the many artists employed there were LeWit!,
Dan Flavin, Robert Mangold, and Robert Ryman, the last three as museum guards.
Lucy I.1ppard, soon to achieve prominence as an influential writer on Conceptual art,
worked in the n1useum`s library. During his MoMA days, 1960 to 1964, LeWitt was initially
assigned to the bookshop and later to the reception desk outside the administrative offices,
a 5:00 to 1o:oo 1>.M. job that allowed him to make his own work during the day. Not
only did the young artists compare notes on what was on view in the galleries, they also
conversed about their own work and continued to do su, long after museum hours, at
each other's studios. Though each had definite ideas about making art, they agreed, says
l_e\Vitt, that whatever they made should be about itself only, not about the individual
artists ego or emotional state while creating it, They shared the view that painting was
mired in an expressionistic morass. ln part, they felt, the problem lay in its inherent flat­
ness, Radical measures were called for. Perhaps the best solution, therefore, would be to
have the canvas project from, or even leave, the wall, As a palpable object, it would then
inhabit the viewer`s space. This idea intrigued not only I.eWitt and his friends at MOMA,
but others-including Donald ludd (f`. 17), Carl Andre, and Frank Stella-who were
independently and simultaneously investigating its possibilities in their own work,
But even ifshifting to a three-dimensional mindset offered this generation ofAmerican
formalists an enticing alternative, there were few immediate sculptural precedents, with
the possible exception of David Smith’s stainless-steel geometry and Tony Smiths angular
volumes. But Lcwitt points out that he and his fellow purists bypassed those American
artistic abstractionist "fathers" for the post-Cubist European "grandfathers," notably the
Dutch De Stijl artists and Russian and German Constructivists ofthe 19105 and `2os.
Although he was fatniliar with MoMA`s examples of the Russian Constructivists’ and
Suprematists` nonobjective imagery his interest in their accomplishments, he says, was
considerably heightened by Camilla Gray`s pioneering 1962 book, The Great Experiment:
R1¢5s111n/irl 18634922 (Hg. 18). Its thoughtful text, copious illustrations, and statements by
revered exemplars such as Malevitch, Tatli11, Lissitzky, and Rodchenko provided his Hrst
insight into the sociopolitical, as well as aesthetic, aspirations of these early twentieth­
century modernists. Their audacious ambitions, not the least of which was the erasing of
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Martin mama"
Though initially well within Minimalism`s gravitational field,
LeWitt increasingly felt that the constant simplification of geo­
metrical form was a reductive trap; rather, he says, “I was always
thinking about simplicity, not reduction.” He began searching
for nonexpressionist means of creating form. One, he soon
found, was through the use of systems that could lead to “self­
generating" forms. It was this theorizing approach that enabled
him to break loose from the rigidity that Minimalism seemed
to stand for, Such systems provided what he calls a “narrative
option," By positing an idea as a form, other shapes would follow.
A major influence, he says, during this quest was a 1963 sculpture by Dan Flavin, the
rmminul three (to William ofOckham), consisting of six white vertical fluorescent tubes
installed as a I II III progression on the wall (fig. 19), The first vertical unit initiates the
system; the second and third each increase it by one. In effect,'each addition continues
the "narrative," which theoretically could go on ad infinitum, LeWitt soon began applying
this principle of elementary progressions to develop his own forms,
He became an enthusiastic proponent of Conceptual art, in which the “idea” behind a
work was considered as important as whatever abstract shape it might bring forth. From
early on, he had regarded his structures as neutral transmitters of ideas about scale and
process. They were not, at least in his terms, aesthetic objects. (That adjective applied to
his work still seems to make him shudder.) Further, he felt their materials-wood, steel,
or aluminum-and surfaces, and the resulting forms, should not be too interesting.
Nothing about them, in fact, should interfere with the viewer`s comprehension of the
finished work as anything but the totality it was meant to be.
During the tgéos, LeWitt fabricated most of his three-dimensional works himselfand,
unlike his later industrially produced ones, a decidedly handmade look prevails in these
rectangular solids and hollow squares, whose parallel sides are not always of equal length
or in precise alignment, "I was trying very hard to make them perfect,” he says, “but of
course they weren`t. l was never that good with tools." However that may be, over the
course of the i96os, an impressive array of constructions based on elementary geometric
forms began to emerge from the artist`s studio-among them three-dimensional grids,
walls, towers, and ziggurats. The basic component of each of these, their common
denominator, was the cube. From the outset, it has remained LeWitt’s essential structural
unit. Yet, for all the cube’s apparent stasis, even in those early works he was determined
to invest its static form with energy and motion, ln more ways than one he wanted to
get "out of the box."
ln the early igbos, pondering ways to animate the blocky volumes of his painted canvas
reliefs (actually three-dimensional paintings with thickly brushed red, yellow, and blue
surfaces). he began punching square and rectangular holes in some. In others he incorpo»
rated boldly lettered words such as “look," "run," and “objectivity” (a whiff of suspect Pop
tnsinuating itself?). Another method of introducing a sense of movement into the blocky
relief format is apparent in two works of 1964 titled Muybridge, which contain sequential

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a series of such obdurately geometric shapes, some freestanding, others attached to a
wall, LeWitt, deciding that their frameworks were actually more interesting than their
surfaces, got down to basics by abandoning the sheathing altogether, The resulting open
grid now became an indispensable part of his vocabulary, Hrst as a black-painted tensile
form, soon after rendered entirely in white. Variations in proportion, configuration, and
scale began to appear, not only in wood but in white-painted metal also. An early version,
a six-foot cube called Floor Structure ot' 1966 (pl. 45), represented him that year in the
Primary Structures exhibition.
Not only did the grid become a dominant theme but, in combination with his durable
cube, it led to intriguing new compositional possibilities. One ofthese, begun in the
mid-196os, is the series in which the modular cube rises from a graphlike plane. In its
simplest version, Cube/Base, 1969 (pl. 58), the cube YSSIS on the center square ofa nine­
unit grid. The cube-grid combination format achieved a kind of apogee in the Serial
Project #1 (ABCD), 1966 (pl. 61), actually four separate compositions that LeWitt combined
in a single super-composition. His obsession with systems kicks in fully here. On a gridded
plane resembling a large game board are set numerous cubes and rectangular forms that
vary in height and width, Some are solid, others are hollowed solids, still
others are schematically rendered frameworks. When grouped together, the four separate
sections that compose Serial Project #1 (ABCD) become an instant megasquare containing
thirty-six cubes, no two alike, whose materializations range from solid mass to tensile
outline. That the results may suggest a computengeneraled design for some sterile, anon­
ymous metropolis doesn’t in the least trouble LeWitt, who shrugs off such architectural
analogies by dryly observing that this piece was never intended as a model for a city,
but for those who persist in seeing it as a futuristic urban complex he blithely adds,
"It’s certainly no city l`d ever live in." VVhen someone who had seen this |971 work in
an exhibition skeptically pointed out that Mies had already "done it," his response was
"Well, he was an architect, and l`m not. l’m an artist."
But despite his protestations that such readings of his constructions as architectural
surrogates miss the point of his art, it’s hard to avoid making such comparisons. Even he
admits to architectures persistent allure. "I suppose I think about
architecture more than I do about sculpture," LeWitt says. "In fact,
I probably think of it as a form of sculpture.” The evidence for such
reflection tlickers in countless allusions to architectural forms encoded
in the work, and which are by no means limited to buildings of this
century. Throughout we detect affinities with far older forms,
however generalized these references might be, His far-ranging tastes
have long been for elemental shapes that range from Old Kingdom
Egyptian mastahas (fig. 21), Indian stupas, and the temples of Angkor
Wat, to early Romanesque churches and Brunelleschi’s great dome
for the Cathedral of Santa Maria del Fiore in Florence. Illustrations
of these wonders and other grand primal structures are pinned to
the walls of his studio.

4 Maw mamma"
 In large measure, LeWitt`s strong response to architectural form was conditioned by
his early years in New York, after moving there in 1953. By mid-decade he was employed
as a graphic artist in LM, Pei`s architectural office, and though well removed from the
drafting room, he nevertheless became interested in various systems used by architects to
organize and develop their projects. Once settled in the city and beginning to make his
own work, his interest in architecture was further stimulated by his immediate surround­
ings. The geometry of the city was beginning to find an echo, however distant, in his
work~not only the contours of its trademark skyscrapers but the chunky masses and
stepped outlines of anonymous postwar period office buildings that had risen rapidly
from Manhattan`s street grids.‘
By the early 197os, LeWitt`s cube-grid structures had undergone considerable variations
in configuration and size. His white-metal cagelike constructions, .1 fusion of both elements,
had grown dramatically in size, and, increasingly, he used his unique, quasiscientific systems
to generate new combinations and variations. “With such systems," he says,"you could
create forms that you wouldn`t normally imagine." In fact, he saw these personal method­
ologies as a way of"gettingp//1st the pitfalls of imagination.” Past his imagination, perhaps,
but certainly not past his intuition. Each of his logical systems was arrived at arbitrarily,
however mathematically exact the results might appear. (As to mathematics, LeWitt
pleads ignorance beyond arithmetic for daily use.) There were, however, a few general
rulesfhis own, of course. In a LeWitt “serial construction," for example, the length ofa
cube`s side might be the fundamental measurement that is subsequently repeated, halved,
or doubled to generate more shapes, But there was no LeWitt “golden mean"; rather, a
ratio was chosen simply because he happened to like it. A long-favored one, utilived in
many of his open-cube structures, is 1:8.5. The ratio represents the width of one segment
of the cube’s frame to the width of the empty volume bound by it. He has always been
curious to see just where his arbitrarily generated numerical sequences of numbers might
take him and what shapes might evolve from them. When asked if his great fascination
with such systems might, perhaps, reflect some deeper, mystical interest, such as an
obsession with the arcana of numerology, his amused response was, "No, but l've always
liked numbers." To underline the point, he then observed that he would have a birthday on
“September 9,1999, or 9-9»99. The next time that kind of thing happens will be January 1,
2011, or 1-1-it!"
Allowing his intuitively derived systems to dictate the forms of his objects, LeWitt has
become a master hypothesizer, an inventive positor of "what if" situations: how many
ways, for instance, are there to stack three cubes-one solid, another partially solid, the
third open? Fifty-six is the answer, as demonstrated in his white-painted aluminum floor
piece 56 Three-Part Variations on Three I)Uffercn1 Kinds ufC11bes, IQ67/1974 (for an earlier
version, see pl. 65). lust to make sure that he had covered all possibilities, LeWitt had his
assumptions vetted by a few mathematicians: he hadn’t missed any, And how many ways
can an incomplete open cube-that is, a cube missing one or more sides-be shown?
The answer is one hundred and twenty-two, as Incomplete Open Cul1cs,a frenetic 1974
conglomeration of angular metal spaghetti, readily reveals (pl. 68). He worked out this

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astonishing arrangement of shapes by bending paper clips into various configurations,
The complete installation includes a similar number of photographs and drawings of each
unlinished cube variation. But apart from the empirical process of working out all possible
permutations lies another and deeper concern: the relationship of actual form to infinite
space. ln effect, this constellation of incomplete cubes is :t philosophical disquisition on
present reality dissolving into nothingness,
Throughout the tgttos LeWitt concentrated on richly detailed structures composed of
innumerable small open cubes. These line-scaled, virtually transparent masses took many
forms: some as elongated, towering volumes; others, as horizontal ones that lay on the
Iloor, There were walls, low pyramids, wide stairs, and tall angular spirals, Ot' two titled
Htxugmg Structure from 1989, out is an upside-down tower, a three-dimensional X-ray of
a skyscraper (tig. zz); the other is a llat rectangle with an incomplete corner, which in its
airiness, looks like a cubici7ed stalactite. A later, monumental manifestation of this open­
cube theme is the sixteen-and-a-half-foot elongated ziggurat 1 3 5 7 9 11 he created in |996
tor The Nelson-Atkins Museum ot' Art tpl. 268). Despite I.eWitt`s reservations about
architectural analogies, its soaring skeletal outlines instantly suggest a 1930s Deco-style
skyscraper. While such tensile forms-essentially geometric drawings in real space#
are his most intricate variations on the cube, they are, at the same time, wondrous
disappearing acts in which white forms can dissolve nebulously into their backgrounds.
They inhabit space but are oddly recessive and, under certain light, take on an elusive
spiritual dimension,
In the late 1980s Le\‘\'itt began making tall, sharp-sided, and in some instances, aggressive­
edged white polyhedrons tpls. 254-58). ‘lermed "complex forms" by the artist, many of
them evoke forms ofthe natural world-jaged mountains, icebergs, and multifaceted
crystals-while others bring to mind church spires and sailboats. Their origins, though,
were not in descriptive reality but in the schematic studies LeWitt made to determine
their eccentric, quasigeometric shapes: "I was trying to figure out how to make things
that I had never imagined," he says. "I had no idea what they would look like." The process
utilized yet another ol his systems: "I would rule offa grid on a sheet of paper and where
thc lines intersected, I would place a number, say. from 1 to io, to indicate the height ofa
vertical line from that point." The next step was to connect the elevated dots, which led to
these unpredictable forms. The drawings were then turned over to a carpenter, and small­
scale wood models were soon succeeded by full-scale pieces in wood and aluminum.
For all the systematic order ol' their genesis, these idiosyncratic, even insurgent, shapes
were introduced into LeWitt`s theretotore carefully controlled hierarchy ot' forms. Until
he began working on the Pine Bartens structures, they were, relatively speaking, LeWitt`s
most allusive sculptures.
Even as he was developing those spectral forms, he was pioneering new variations on
his eternal cube in possibly the least likely candidate for a line-art material imaginable:
concrete block. In stark contrast to the transparent open cubes, but just as architectural,
these weighty structures were formed of layer upon layer of massive volumes. In a way,
they represented a new, obdurately anti-aesthetic stance, especially in contrast to his
increasingly relined open~cube structures that encompassed more empty space than
solid form. But such polarities are not uncommon in LeWitt`s art, with its long history
of alternating between primal simplicity and rich complexity, between wall drawings and
structures. He Grst used this prosaic medium in the five-meter Cube he made for a 1986
exhibition in Basel (pl, 283), and soon employed it in other outdoor works: cubes, massive
towers, stepped pyramids, and walls. Though mainly an outdoor medium, concrete
block was the only material he used in a memorable 1995 multiroom installation in the
commodious Ace Gallery in New York (pl. 304). Dominating each of its many spaces
was a primal shape over whose gritty gray surfaces there was interplay of light (skylight)
and shadow. He had been attracted to this improbable medium, he says, "because it was
a totally ‘non-art one,` with no historical associations” and, besides, he adds, "concrete
blocks are basically the same all over the world,” easily worked with, inexpensive, available,
Furthermore, the low-tech masonry process lends itself admirably to the primal shapes
he has long favored. What better way to ensure that his ideas could be carried out with
ease, here or abroad?
Geography has never been a limiting factor, and LeWitt has worked on projects, large
and small, throughout North America, Europe, Australia, and Iapan, But though an artistic
internationalist, his visual language utilizes a relatively small vocabulary of universal
images, And while the architecture of a site might influence the connguration of a LeWitt
wall drawing or three-dimensional work, other issues, such as social or political ones,
generally do not, He characterizes himself as “a political person but not a political artist."
But a salient exception to this apparent detachment was the Memorial to the Missing lews,
a massive concrete-block structure made for the 1987 Skulptur Prnjekte in Munster exhibi­
tion in Germany That contribution, initially called Black Farm, was a massive, black con­
crete-block construction like an altar placed in a square, the Schloss Platz, in front of an
ornate eighteenth-century palace. "I wanted to make a piece that was completely different
from the lacy architecture behind it," he says, "so I made it in a sort of ungainly block. I
wanted it to be hard to swallow in terms of form and completely antithetical to its site.
Then I decided to make it even more antithetical by painting it black. Once that was
done, I thought, well, I’ll take another step and give it a title that will make it even more
unpalatable," Everyone quickly got the idea. The palace`s neighbor, the Westfalische
Wilhelms-Universitat, was less than eager to have LeWitt`s polarizing bleak monument,
which was soon covered with political graffiti, at its front door, and it quickly became a
cuuse célébre, engendering passionate local debate. Soon after its jackhammered removal
from the plaza at the exhibitions conclusion, it found a second German incarnation
(pl, 186), It was reconstructed in slightly larger form in front of another palace, the
Hamburg-Altona town hall in the Platz der Republik, across from a site once occupied
by a synagogue, "This was the only political art I ever made," LeWitt reflects, “and the
only thing political about it was the title, but I thought I owed it to the Germans­
and the Iews-to make one comment.”
In the last few years LeWitt has even ventured into the realm of architecture per se.
As the best-known artist in Chester, Connecticut, and a prominent member of its Beth

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Bern 5/ta/om synagogue, chester.
conneetteot, i999 its new building. After a model of a strongly geometric structure was respectfully rejected
as being too severe, he investigated earlier synagogue forms, particularly the humble
nt; 24 Stephen tloya, Design /of
sem sn.;/om synagogue, chesten
seventeenth- and eighteenth-century wood buildings of Eastern European shtetls. Based
connertveot, i999 on the contours of these traditional structures, he proposed for the synagogues central
element a hlocky pyramidal form consisting of three units, one above the other, the
smallest at the top (fig. 13). Their sloping roof lines were the setbacks. By this time, the
congregation had engaged a young architect, Stephen Lloyd, with whom LeWitt began
to collaborate. Their plan incorporated LeWitt’s blocky pyramid in a new scheme that
earned enthusiastic board approval, and the building is about to be constructed (fig. 24).
Against the backdrop of such simple, architectonic forms and LeWitt’s well~known
history of open-cube and solid-cube structures, the sumptuous, color-saturated shapes
of the proposed Pine Barrens works might seem startling, Except that they echo the
shapes and colors in his latest wall drawings, just as his perspectival renditions of open

Ma t r teams"
 and solid cubes afloat in the earlier wall drawings alluded to the constructions of the tinte.
He acknowledges that such symbiosis is at the heart of his work and that he moves back
and forth freely from one medium to the other because, he says, "What I don`t want is
atrophy,” And last year he made his first "exterior" wall drawings. A commission from
the owner of a Barolo winery, all four sides ofa small chapel in Alba, in ltaly’s Piedmont
region, now vibrate with his high-spectrum curvilinear wall drawings (pl. 309), Sculptural,
colorful, perched on a hill, the building with its drawings of primary and secondary colors
shows affinities with the architectural forms of the Pine Barrens structures. His imagery­
whether resolutely geometric or, more recently, sensuously arcedfdraws inspiration from
the underlying structures, and calls attention to the forms it overlays.
LeWitt has a simple explanation for the emergence of color in the structures, surely
as surprising to some as his new proclivity for rounded organic shapes. "Well, why not?"
he asks, observing that different eras engender different artistic reactions. "The difference
between the sixties and now is that those years were a time of very strong ideology, politi­
cally, aesthetically, and every other way. In order to break with the past and make new
things, you had to begin with some kind of ideological framework." The sixties were also
the beginning of his deep immersion in the Conceptualist ethos, and a time, he says, when
"I could never have made a colored sculpture. It was something I just couldn’t do .... But
now I say, so what? lf it seems to promise some kind of interesting result, why not do it?"
LeWitt may be mellowing a bit, perhaps loosening the Conceptualist strictures of idea'
over-object, Even he admits that his interest span in methodologies has been relatively
short, and while intrigued by systems, he has never really been in thrall to them, remaining
with onejust long enough to explore its potential before moving on to something else.
Nor has he always played strictly by his own rules. The objects that proceeded from these,
for all their premises in logic (his logic), have consistently transcended mere formula,
thanks to his subtle interventions and manipulations of the rules, While such rules may
have been helpful in the short run, they were never a substitute for his purely intuitive
decisions about form. As such, his structures are ultimately as much about enduring
formalist verities such as line and mass, volume and void, as about some motivating
idea. Over the course of his entire career, he has made objects that have a life of their
own, well beyond embodying whatever invented systems may have led to their making.
The overwhelming evidence is that, intentionally or not, his elegantly reasoned sculptural
forms, like his compelling wall drawings, more than meet aesthetic criteria as well, and,
in fact, vastly expand our sense of what those criteria can be.

Nates

i. Now a senior curator of painting and 3. As Lewin wrote in a igf-es Arrs.’t1ugizzmr adequate daylight for the cny`s tncreasmglv
sculpture at Mama, Meshint was fi ,uninr essay, than tharprfdged ngginnt innnn were en-wana men. sie his "ltggurats," /ins
staff member there during LeWit\'s time at not the results of enlightened architectural Magazine 41, no t (Nov. tggel 14-1;
the museum. thinking. Rather. these setbacks were klienous (reprinted in the Appendix in this catalogue)
2, All guinea in this essay an fnnn conver- bvPf°d“<‘> Dfw wffttifllv imvosfd Simm­
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 APPROACHES T0 SERIALITVI SOL LEWITT AND HIS CONTEMFDRARIES

Anne Rorimer
By the late 1960s, Sol LeWitt was personally connected with the majority of interiiational
figures whose work has come to be associated with Conceptual art. Living in New York
City, where his Hester Street loft became a social nexus, and traveling frequently to
Europe, LeWitt crossed paths with numerous t1rtists,writcrs,and musicians. A glance at
the long list of artists represented in the LeWitt Collection, which comprises works he
has purchased or traded for over the years, attests to the far-reaching nature of his orhit.’
LeWitt`s work is central to the period of ferment marked by the shift from the ideas
of Minimalism to those of Conceptualismf ln two major areas of innovation in the
19603 LeWitt was at the forefront of developing principles and methodologies that have
proved to be of utmost significance, For one, LeWitt’s formulation ofa serial approach
led him to the production of works in which visual complexity is derived from rational
simplicity. As a progenitor of what is now termed “installation art," LeWitt furthermore
played a pivotal role in the radical move from canvas support to spatial environment
that occurred in the later 19605,
A key passage from his seminal "Paragraphs on Conceptual Art" explicates the proce­
dural method that has served LeWitt in his practice as it has many of his contemporaries,
each to his or her own ends:

To work with a plan that is preset is one way ofat/aiding subjectivity It also olrviatus
the necessityfor designing each work in turn. The plan would rlosign the work. Some
plans would require millions ofvariatinns, and some a limited rtumben but both are
finite, Otherplans imply infinity In each case, howeven the artist would select the
basic form and rules that would govern the solution ofthe problem. After that the
fewer decisions made in the course 0/'completing the work, the lretren This eliminates
the arbitrary the capricious, and the subjective as much as possible. That is the reason
for using this method. 5

Wall Structure, 1963 (pl. 37), was LeWitt`s “first serial attempt." * Rectangular volumes,
enclosed one within another, progressively widen and shorten from the work`s center to
its rim,jutting out from a flat plane into the viewers space. ln the following year, with
the realization of Mu;/bridge I (pls. 43-44), LeWitt furthered his investigation ot' pictorial
planarity and spatial reality with relation to duration. Familiarity with the studies of the
nineteenth-century Anglo-American photographer Eadweard Muybridge, who is known
for hundreds of photographs of animal and human locomotion, aided him in a concerted
search for ways to counteract the static nature of singular objects (fig. 3).
Muj/bridge I is built upon the eponymous photographers procedure for presenting
the subject in motion as a series of individually recorded moments to be read from left to
right. As opposed to Wall Structure. this work, also to be read left to right, is experienced

rig, 25. sat Lewin, serie/ Pro/sn xi

rser Ai, 1966, eaten enamst on steel
Private eurteetron,
 over time. Photographs are contained within a long, compartmentalized black box with
ten equally spaced ncculi. Spectators may peer successively through each of the ten holes
to view an image of a walking female nude. Inasmuch as the first image shows the woman’s
entire body in the distance and the last is a close-up ot' her navel, the Ggure, who walks
in the direction of the camera’s lens, appears to come progressively closer to the viewer
and to the surface of the picture plane, Muybridge Il, also 1964 (Pl, 41% operates on
a similar principle. In it, the nude is sitting and, instead of striding toward the camera,
remains stationary as the camera gradually zooms in on her until only her navel is visible.
Wittily treading the tenuous line between objective observation and subjective voyeur­
ism, Muybridge I and Ma;/bridge Il playfully refer, without succumbing, to the pictorial
notion of foreground and background (while also alluding to traditional depictions of
the female nude in art through the ages). By creating in tandem with a sequence of
moments the effect that the nudes are coming ever closer to the viewer, LeWitt’s Muybridgef
inspired pieces activate the static nature of traditional figuration at the same time that
they eliminate the vanishing point of perspectival illusion.
LeWitt's understanding of the implications inherent in Muybridge’s photographic
progressions was reinforced by his recognition of the importance of Dan Flavin’s the
nominal three (to William ofOckham), 1963 (Hg. 19), in relation to his own nascent ideas
regarding serialityf These ideas were fully developed in Serial Project #1 (ABCD), 1966 (pl.
61), a work that takes permutational progression -which, in Flavin`s piece, from left to
right across the wall accommodates at equal intervals one, two, and then three fluorescent
tubes-to a much greater degree of complexity. The artist described his serial approach
to this work in Aspen Magazine, explaining that “serial compositions are multipart pieces
with regulated changes." They are to "be read by the viewer in a linear or narrative manner
(12345; ABBCCC; 123, 312, 231, 131, 213, 321) even though in its Hnal form many of these sets
would be operating simultaneously making comprehension difhcult." Serial compositions,
he maintained, preclude subjectivity since “chance, taste, or unconsciously remembered
forms would play no part in the outcome." °
LeWitt’s permutational sequences, like the mathematical progressions in the work
of the preeminent Minimalist Donald Iudd, are employed to obviate personal decision»
making, resulting in hierarchical compositional arrangements that interfere with the
immediacy of a gestalt. Emphasizing that the elements of his work are given, not invented,
Iudd commented on the rationale behind his use of progressions based on different kinds
of mathematical series such as the Fibonacci series, or inverse natural number series:

No one other than a mathematician is going to know what that series really is.
You don`t walk up in /the piece] and understand how it is working, hut I think you
do understand that :hare is u scheme there, and that it doesn’t look as fir is just
done part by part visually ..., The progressions made it possible to use an asymmetrical
arrangement, yet to have some sort uforder not involved in composition, 7

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|-1 7 0S;I 723,32-*tl-LX 5. 4 ‘ . . _
-\ » 5. V 3| . vw. v E hidden but spelled out in titles such as 49 Three-Parr Variations an
, ' / § Three D1ffererxtK|nds of(.ub<'s, i967»7t (pl, 65). Kept thernattcally
11” ‘ 'FM 'H " ' 27"2552‘f2) 7* \< ,g Q sf behind the scenes in Iudd’s work, the plan`s open declaration in
- |‘) " 1‘n"‘b’50 ’ 1| i ‘?1;q3) 'Y l `&‘§` LeWitt`s shows how it engenders content by means of its inherent
‘la -ll0'lH»l!-ISI I ) |'l)Z653S~*1‘l; 1X i/ logic. His serial works thereby escape the potential stasis of singular,

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ln)-a|Hi-H352 7| ) 2 i . |01 4? 5J¢PS solid ob)ects by overtly expressing the cumulative visual dynamics
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2) j _ >§ 1`;‘{ ( ?i?;; E A brief comparison of LeWitt`s method with approaches taken
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~S`l;£6-7S7Y his contemporaries in the late igbos suggests how serial
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)_’ S6 ’ _ ' I ‘ § l systems have played a major role in the achievetnent of a variety of
'iii IS _ ,S )57,7l;’5; X l aesthetic ends. In all cases, the preset plan allows the work of art,
'S H I6 ' xy S E li ` ' §° ir\ effect, to create itself while remaining grounded in the reality of
'Z | gégmnu external factors or existing facets of representation. Examples are
' IQ-> 0 ""' 4 I )` Y found in the numerical permutations of' such artists as Hanne
'V 5;£'5"';,?;2‘°:f'i¢ lzxfgfa-r;Z;'y“(=F Darboven or Mel Bochner; sequences related to the existential self
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Zara (Maha _ as in the work of Adrian Piper or On Kawara; and permutational
?..,,.; 1/ pa => #Q If 0»0 -,2&,}'1zts ,qu ¢mrs?u?é progressions derived from nonart systems that underlie Alighiero e
§“gZ“‘%3g0fh':ii2'§xE"s‘ti],,% ” Boetti’s postal pieces or Dan Graham’s Homes for America.
W 5 F5 ‘;"”"|‘|l‘
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“WHY /;, $,Z,3/,q,q-__Ei£»fw1yl"f”/ 5 7) numerical and/or linguistic systems. ln t966»67, during the early part
of her three-year sojourn in New York (she came from Hamburg),
Darboven was using the tiny squares of graph paper as a supporting
rig, 26. Hanne oamoven, /naar structure for exploring spatial and numerical relationships expressed by parallel, per­
In 100-00-99-2-61 |978
pendicular, and diagonal pencil lines and by lines drawn within or across individually
Ink on papen Lewtrr correction
demarcated sections, On 9 Iune 1967 she wrote, "everything is based on: Numbers, the
small multiplication table, Numbers in permutations, in progressive, symmetrical, and
mathematical sequences; shifted angles, numbers, and multiplications of numbers and
angles, all in mathematical permutations. I find this fascinating, being pretty ignorant
of mathematics,” That same year she met LeWitt and others of his close-knit circle.
In 1968 Darboven replaced the spatial mesh of the grid with an invisible supporting
scaffold of numerical formulations associated with the calendar (Fig, 26). The artist was
able, therefore, to directly construct works that, anchored within the flow of time, escape
the grid`s fixed nature. ‘A system became necessary," she has maintained, for "how else
could l in a concentrated way find something of interest which lends itself to continua­
lion?"° Darboven’s investigation of the myriad permutations provided by the four to six
digits needed to record the day, month, and year ofa calendar date (excluding the first
two ofa year`s four digits) has provided her with a guiding structure on the one hand
and an open-ended, uncontined freedom to act on the other, just as it has LeWitt, Using
numbers and generic handwriting, Darboven achieves a tangible transcription of spatial
and temporal relations that testify to the physical and mental commitment underlying
the production of art. The controlled system advocated by LeWitt lends credibility to

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9- w|1nm~|.\ ah~,wi1h ihc uml ur .mfndin v 16 hu mm
vislmlsl.1\e|nc|\l> generated hy nn|nrri\.i| pcr|nu\\i|iu|i~ r.\\hur lhiin In }wr\nn.\I \\h|n\.
Numcric.i1sys\cins and scqiicxicu .irc icnlml ln mnih ut Mvl l§m|\1\cr\ \\\»rk truni
1966 through \q75f" when hc songhl l\\\'\lm1d.||\cr,\||y .indthcurc1|\.i||i;\|1cpiuniilnig
boundaries of thc .irl nhicu and lu givc thrininn .ind \ v~n.il pmulcmu tu the prmu|i||c~
behind ncslhciiu pmducIim\_ |§uc}\m~r'~ "dc\||c Inf an .ir\ thai dui nul .nhl Jiiytliiiig in Ihr
furniture oi the \vorld,"" resulted ||1.\|1.\|\.\lv\i~<v| how~<»|nul|in\gi»1<v\w pcr¢c1\ui.imi
undemond. |§cm\vw1 we; .ind i=;f»7, iimlimr i-\pm|m~n\<d wish nnun-n\,il i\»|\i|»|n,i\1<»i\~
derived noni mniplc >cri.\l ~)\(cni~ to <'|nph.\\|/c w|1\\rmt||n\ |\.\~ud on prngminnmlii
thought, .md n|I>\ui|\i»m\lv ru.|l\/cd "\|\.n \»un‘~ <\|~\i-11 Ilvr mm mg mn ui .in m<N~|\u|i
munlal do|\\.nn wilhnui |n.ik||\g`\Nng\"`
The .\rli»l hm uxp|.1||wd\|\.\\ in \\urL~ lvkv in I’/ming:/1/~/i~/:mlm [>n|g1i|n1~, |966
Mig. :7b. he \v_\>"\n>1irying|\»1\\.\\\u»L\i|pNr\~hm \¢» ~)m\\ ~L\1|p|\m-.i~ .u im-|lu»d."`
`l`hiriy-mx p|ml6gr.\pl\~ ri-L61 il mlm-u \ n-wpmn\~ Lp|.m, L-|r\'.\\|¢m, .ind un nur pcr~p<ui\'c1
uf lwchc scI>nl`>x\\.\l1h\||ldingN\>Ll<\,wlmli hc .irningnd .ind ru_iir.\|1gu\|\\nhi\ »l\idi<v
\.\blc. hugh srl wrrcspuinls in ihc num|»<~r\ nn in rs~p\m|i\u .n\\\|np.\|1ying grid. 'I In­
work ,»i\.»\.»gm,»haL.i||y |»¢~¢.»\~~ mini mn" im m.m\»i-mg ~i|1.»mi~~ pmivii-miiimi ln
thc *mm in order tn climimnn \m<h\mn.\| min-ri.i||\i And m.i~~ Surmliiv .illimud Bndiiwr
16 highlight the icmpnml n»mp.»m»n\ 61' ~i.»|,»n.f..| i-\,»i-i .fmu ima mi- i\»<»fiiin\¢i\»m.i1
pr¢>cnl;ni6n wa> used lu rvlcr lu ~Ln1pnn¢'~ nhmyfdum~n~|<»n.\|nv \\iih\»ni lhc,ir\1>\ lining
uminnruu.inwhim.Ifu1lyu>gm/.imni ihf Wm] im-iIn>d~ 6| \linini.i|i>ni\|1c cxpiiiinrd
curly un that he had cho~cn".1 ~cri_il iunuinn |wuL.n|~u ii uinplniud J ~nnp|c ruinnwd
nieixns ofmcasurc, Ls., nun\hcr,"whi1u y\c|d\ng"\|~i|.\] u»|\ip|u¥i\\'."` Mimi with \hc
faciuul uipm ofphomgmpliic d6:nn\¢nl_\\i\»|\, .\ unrk ~u\h .i~ in /'Im1i»gmpI|>imii1;
I)mXmnis cmploys scriulily lo qnonun trinhtiuimi ~\nlp\\m‘ lk;-il hers lu dui\|i~lriicu\'c
enda, Bochncfs scrml incthud nnnc\hcIv~~ p.n.\l|vl\ (hu |\.i~|k in\\du~\»pcr.imi1g\i\‘crni|\g
works by l.l\VilI.
ln lhc lulc 19605, .-\dr|.1n l’ipcr\1cg.in lu uplnrc \\.\\‘\ In cxplriniv inrcgmund hcuclf
aa hoih che suhic-fx ml and an 6l>w<i in, hcr \\\\r1\_ \\hcn ~h¢ mi-1 I<-\\`n\ »h\»n\v nm
sccingi .ind living \|npru~~ci\ |v\, 46 Iliruu-I’/Jr! \1nm1mn>
im 'I'/rm'IJ://vwn1I\'|ml~n1 1`|<lw~ [pl 631 in iqox iii ihc
l)w.in (].\\]c\\' in New \i\rk\ Piper \\.\> >ri1l.\~\udcn\.n
\\1<~SiIw6|6|\'\»u.\1¢\r\~\|\cru.I|\ihc mum, ~|w nmud
|1or"~i\\\|v.\lhi “nh ilw pmilinn im .in \.\L¢n hy 86|
lu\\'m," Nuiing min ~h\\ w.i~ than "|ni¢ru»i¢d in mlm
¢m\~lr\i\||i»|\ nt tinnu~\~n-n\~.,.lh.\1 ~¢r\'un\<m\\.\ii\
.nu |du.\ w1\N|\U_-\l.nn |<»rm.\\ |i|ni\~ .\nd\<\c\h.1\|>\ ihc
p\>»~|lwi||||c» ui ihu nlc.\ wi |\y thnuc |i|ni\>."" Piper
nmdu \|w liy;mz/nw wru->, i~;f~P<»f<>1tig,;x>,‘\g1u\|p
ni |1||ic|n~c\\ ¢h.igr.\n\n\.\\|\ \\‘i>rl<~ nn graph paper \\'i\|i
wir-<<»|i~L|\>\i~|\¢~<_ Shu rutluimi Lim on hm m6\|\.m6n
and niclhmi:
A»»=»=0»<»<|s vo snwmiw vii Lewin inn ms <n~vfw>owAms

rrq 29 or krrrarrrr 0.1 11 12175 we
trqurter an mm cmiaftrrrn 01
we Ar: mortals s* mcsqe
ram-rrrrrr car-1111.1 mr. mr- rrrrrri
\~~» war wr
This series was the crurml lurk lretweeir the emlier emlcepliml wark and IlIL'lI1t€B
rrmrepolilieul work ldrtl huvirzg to du with mcc und gender ubjectyicurian, otllerness
ideurrtyg iirzdxenapliolrirr. I11 the Hypothesis series I wus ivrvcsligatilig 1nyscHr1s equally
rm alrjerl 111 spare ami time, 1111 Ulrjeet /hat nmves tlmmgh space and limejust like 1/my
other ulrierl; but milike ol/fer 5/reel/ic Iliree-dirvrerisrmxal objects, this one has n pefuliur
mpmwryf mm1ely llre tizpueity la ngislur seU-consemxisly the space and time l am moving
rliroiigli, to txclzmllyre[vres1'11t that muscroiisness synrlwlrfully-in plrotogrrlphs-a/11]
11l1str1|t‘lly~i11 11 iatmlimzlu grill, and i~o1»m11u1[t'are rt. 'r
Piper took photographs, some randomly and others at predetermined times, that are
"symbolic representations of the contents of my consciousness at a particular space-time
location and monient" “ and related to the space-time coordinates she plotted on the
graph paper, In its studied serial1ty,I’iper’s work pertains to the fact that orientation in
the world 1s necessarily at tconlsequence ofdiflerent spatiotemporal situations in relation
to consciousness ofthe self. Although her ensuing work, with its political content and
use of photography and video, has followed a different course, the artist acknowledges
her indebtedness to LeWitt’s ohiective investigative strategy. "Sol`s sensibility in general
has influenced me enormously," she has written, adding that her “earliest conceptual
work succeeded insofar as it illuminated the contrast between abstract atemporality and
the indexical, self-referential present.""‘
On Kawara is also concerned with consciousness and his place in the world. For him,
however, seriality 1s usually a function ofthe segment of time defined by the twenty-four
hour dav. The 'li11l11yser1es,hegun in January 1966, now consists of many hundreds of
canvases representing the date (month, day, year) they were painted (fig. 19). I Read,
begun 1966, I lterzl, 1968-79, and I Met, 1968-79, consist of daily recordkeeping, while
the series of postcards titled I Gai Lp Ar, 196849. and the sporadic telegrams [Am Still
/-\l1\'e, begun 1970, fall partially into the category of mail art. The ten~\'o\ume sets of note­
books of One Million }k'¢11's~Hasr, begun 1969, and One Million l2'r1rs-Futiare, begun
1980, convey the tast, vet measurable. expanse oftime from 998031 B.(j. through r\.D.
1969 and from /\.l>. 1981 through 1oo198of" Ten rows of sequentially tvped columns of
individual years, separated hy decade, cover standard 8'/1 x 11-inch pages. Each page,
front and hack, accommodates a listing of five hundred years. By representing one million
years from the time he started each work, going backward and forward in time respectively,
Kawara gives representational form to a temporal span that is immense with respect to
human evolution h\|t,geolog1cally speaking, is extremelv hrietl
lsawaras series are positioned 111 relation to the artist's ultimately finite lifeline, invisibly
inscribed against the hackground of spatial and temporal infinity. Whereas time in Pipers
Hyjvrvzliesis series 1s iust one coordinate and for Darbuven it is an abstract guiding force,
for Kawara it 1s an open-ended diurnal continuum. Activities performed by the artist
as part of his dailv life-not as a "performance" per se-provide markers in the form
of |\e\\'s clippings |IRe11d); maps ofthe artist's route through the city (I Hem); or the
names of indivtdttals encountered during the period ofa day (I Met). These three works,
 lllllll, lllllll\ IIIIIII IIIIQI! lllllll contained in looseleaf notebooks, preserve traces
of temporal, spatial, social, and cultural experience.
_'"““ “‘"'lll "run ||Qllll l||!lll` Whereas the module for LeWitt is a cubic or graphic

lllluu ll’|lI¥l liiliii ll|’lll llllillil
llI!`ll`a llllllll IIYIIUII lIU!’¢ll llluw
lllilill llillili urueu. ureuvz IIIITIF
"l‘|l'll llulnuw IIDIIUI ll*flll"1 ullluwh
IIQUIII ufwumu Ilumuuu lllfiilel ullwur
Illlliyu IIWQQIU ufsuuu IIUIQIIA Hunan,
"l"}l llllflf uwuu uwru lll=<v!`»
IIIUIII IUIIIII uuaui uumiu Ill‘4.v¥U§
IIQIIII ;||u;|n lI¥lI;l; QUUWIIJ |U|llT|J\<
-IIUIIIQ uoaeléo ll'¢||Ul IIWAIJI IIIIUI-(Il
one, for Kawara it is temporal. With his unit of mea­
surement heing the day, seriality is a function of
calendrical time." Quite differently, works by l_eWitt
do not allude to the everyday or existential. Instead
of representing temporal segments that structure the
perception of time, works by LeWitt reflect the varied
schemes that determine their overall form.
Among the works by Alighiero e Boetti engendered
according to a plan are those carried out by sending
envelopes through the mail. Boetti’s Untitled (Victoria
Boogie Woogie), 1972-exhibited the next year at the
Iohn Weber Gallery, New Yorkfovertly acknowledges
LeWilt’s aesthetic strategy of allowing a preset system
to replace the "hand ofthe artist."/\ statement in a

IIIFIII lllIIll.lIlilli, uiauma unusual
|l-flfllll undue uuuu IIUEJIQ uvurwg
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!Ill`|ll lllllli "Tllll Illllll IIIJIZI
yugo; ll¥ilI|¥ lllillffg uname
framed panel that is part of the work reads: "All
permutations of seven Italian stamps," Each of 5,040
envelopes possesses a different ordering of the stamps,
all of different colors and denominations, which are
glued, in the usual manner, in a horizontal line at the
envelope`s upper right-hand corner. Boetti mailed the
stamped envelopes to himself in Turin from different

|||;|| ll‘lllll vIII_§lv!I Illlwml cities in Italy, and then framed them in groups of izo
(fig. 3o).” Colorful rows of canceled stamps replace
|n|||;| |l|;;V:-Iliillll "nun iluteurn traditional manifestations of color and form at the
same time that proof of posting adds further visual
Illlal Wllglanl lllllU_l llUll!Z1l lllllll incident, By sending the 5,040 formal components
nuttin eu;}u` uuueuii llUl'll "www (the stamped envelopes) through the postal system,
IIUIIII "uw: uaufa; llllll‘I IIIIIIGI he validated the work according to the function of

"noon nun: ll'|lll! IUUIWIQ lllilllil
||||||o |||||u| Ilfllill IIUIVII llllllirl
ng, 30. Aliqtuero e Boettt, unmlea
lvretar/a Bangle wouqis t<netat|>. |972
42 frames each eantaminq |20
stampea erweiapes, courtesy
Jann weve: setter-,_ New vm.
the stamps in the real-life, nonart context of the mail
service. Following the example of LeWitt by allowing
a permutational system to replace compositional
decision-making, Boetti circumvented the need for
technical virtuosity and handcrafting to create a
seemingly sell'-propelled work.
Serial permutations in Dan Graham`s Humcsforftmcrica, 1966-67, rest on the artist`s
scrutiny of social conditions rather than on his own devising ofa scheme. This work
takes the formlat) of an essay in the December/Ianuary 1966-67 issue ofArts Muguzuie
(Hg. 3\).“ Utilizing linguistic, photographic, and contextual modalities, it presents one of
the possible serial variations in basically uniform tract housing found in many American

awvnoacncs ro szwutnv sat tcwtrr ann ms ca~re».<»a»umcs

 Hnme§ fur
Amerlca
1.4, zom emi..-y
Dmwlldhll Haute
ru ir.. nun. numi­
cm ul sa - -<‘~~
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=...¢. _
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..._
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7 L'

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fm ,1m.=H,r Aff, ~,+Jaa;~~@
nw iwcrowl wif zlrrrvm.
W an @~¢<vv.=r\ 4-al pr,
ww. wt
cities. ,Although thc houses are virtually identical, (iraham demonstrates how language
i» one tool uxed in _utempts to disguise the underlying uniformity of such coinmun\\\e>,
\\'h1cl1 are commonly given names like l`.ur Haxen, Pleasant Grove, or Sunset Hill Garden.
with covert co|nn1en\,\l1e article documents ti typical town that offers prospective buyers
choices of eight llama models, desrgmled by rnusical .times such is The sumo of The
Nocturne, and eight exterior colors,\vh|cl1 include Se.1tb.nn Green and Colonial Red.
tiraham lists all ol the possible combinations in .\ hlock of eight houses \n which four
model typo ...Q tml.
\.\ nh tltrect reference lo the methods ol sermlny inherited front Mirtinulisni, Homes
/ur .-lrizerztri deri\e~ ns lot in from \he mttsked realities ot tl\e contemporary industrial
|.1nd~tr\pe, Penelraltng beneath the \erl\al \encer .ipphed to the sale ol' houses, the work
reveals hon the |\res\|\u.\l1l\'twhlective qu.\l1tiesol'lorn\ .ind hue acquire suhyectivc under­
lones ln coniunction with associative pliraseology \l\.u "colors" A tntuupulative, hidden
.\gend.\ motwatetl ln' economic greed rather than hy models ol' social enlightenment.
Rather than representing the outcome of ;\ serial scheme set forth by the artist. Graham`s
plete tnvestigtues preexisting applications ofserialilv in the real world. For Graham, serial
permu\.\t\on, resting on gi\en aspects ol vernacular architecture, points in the direction
of social c\‘ili\|ue,\\'l1ere.ts for l.e\\'il\ wrmlity retains its generative function.
 LeWitt began to apply preset “narrations" to drawing shortly after adopting them for
the realization of three-dimensional structures. Simple visual points of departure that
adhere to a set permutational sequence have yielded the same fusion of clarity and
complexity in two dimensions that characterize the many cubical works made since his
first serial piece. ln drawing, his serial method led LeWitt to the broad scope of visual
ideas and effects manifest in his books, prints, and wall drawings, A systematic approach
to the creation of his early wall drawings enabled him to free line from subordination
to representational cross-hatching or contour.
In LeWitt`s drawings, line-including straight or not-straight lines, broken lines,
short lines, touching or not~touching lines, etc.»is employed without descriptive intent
for a wide range of visual purposes. Environmental wall drawings, in which preplanned
permutational systems play themselves out with immediate reference to their physical
location, are governed by language that details the plan in an instructional manner.
LeWitt made his first drawing directly on the wall in the latter part of 1968, and by 1969
he had arrived at the idea of using the totality of an enclosed space as a site for drawing.
A pen-and-ink drawing of 1973, for example, sets forth a plan that has been used for
numerous wall drawing installations: All Combinations of/tres from Corners and Sides;
Straight Lines, Not-Straight Lines, and Broken Lines. No longer serving simply as a neutral
background support, tl-ie wall, rather than a sheet of paper, becomes an integral part of
the drawing. Redefining earlier approaches to the creation of interior environments,
LeWitt’s wall drawings “draw” the supporting mural surt'ace(s) into the content of the
work. Significantly; "no matter how many times the piece is done it is always different
visually if done on walls of differing sizesf’ l’ or of differing shapes, according to the artist.
LeWirt was one of the first to define the surrounding reality of a given architectural
enclosure as an integral part of the work. Some months after LeWitt, although indepen­
dently from him, the German artist Blinky Palermo likewise initiated a series of wall
drawings and paintings in which the surrounding architectural context is inextricable
form the work`s totality, Whereas LeWitt's works involve the fusion of verbally designated
linear systems with their appointed spatial environment, Palermo`s, somewhat differently,
meld their background support with forms obtained from architectural reality. For a
1970 exhibition at the Konrad Fischer Gallery in Dusseldorf to cite one example, Palermo
painted to scale the projection of an actual staircase profile onto one of the gal|ery`s walls
in a suitably proportioned, relatively narrow space (fig. 32). Affording an undulating
shape, the staircase prohle correlated with the observable reality of the exhibition space.
Not unlike LeWitt’s linear systems in its function, if not in its form, Palermo`s staircase
profile-extracted from material reality to serve as a found rather than an invented
shapefmerges with its background support. Suppressing authorial signs of arbitrary
decision-making and dispensing with the conventional canvas support, both LeWitt
and Palermo, using different means, established an interdependent relationship between
exhibition space and exhibited work of art.
Sol LeWitt is a centripetal figure whose career, crossing the historical threshold from
Minimalism to Conceptualism in the latter half of the 19605, ushered in a new era ot'

svvsatcuss vo srmstivv: sat Lcwirr tan ws eoarswomwics

 rig zz aiwkv Palermo, rfeppt-"nails,
|910 siiuseveen print courtesy
newer rreiufien Gallery Mower,
rms prim is naseu on Palerrnns wail
arawwq instaiiatwn at me Konrad
Vischev caiiew. uiisseiaofv, iswo
Anna Hammer
aesthetic practices and principles. The privileging of nonhierarchical, visual immediacy
over illusionistic reference and the withdrawal of authorial presence signified by hand
craftmanship, technical virtuosity, or expressive gesture so crucial to Conceptualism
stems from the precepts ot' Minimalism. Despite its roots in Minimalism, wherein the
object remains materially paramount and autonomous, LeWitt`s work shares more in
common with and has had a greater impact on Conceptualism, wherein the object more
definitively merges with spatial and temporal reality.
The principal ot' seriality as articulated by LeWitt in his practice as well as in his
“Paragraphs on Conceptual Art" lies at the core of the aesthetic goal to set art and reality
on the same plane. LeWitt`s open modular cubes, inviting viewing from all directions,
apportion their internal space into equal spatial segments that have no external barrier or
facade. His early wall drawings, whose linear elements and shapes are produced according
to the logical rigor of a chosen system, are inseparable from the surrounding space of the
room. With comparable aims to highlight the nonreferential primacy of a work-along
with the concomitant decision to withhold signs of authorial intervention-a number
of l.eWitt`s contemporaries, as suggested by those discussed, similarly turned to serial
procedures. Whatever the individual intent, the selection of a regulated scheme has
allowed for the construction of many different kinds of works that self-referentially
stand for what they are without illusionistic deception.
NDKSS
With thanks in Tamara lalanieh for her initial
eaiibrial ei1n1n1enn_
1. See the discussion of LeWirl's collection
by Andrea Miller-Keller in this volume.
1. By virrne of his famed “Paragraphs on
Onnceptual Art" (1967) and “Sentences on
Conceptual An" (1969), Lewin has been given
credir for launching the term “c11neepn1al.”
new applied re. a wide range of aeaihetie
production initiated in the second half of the
19s°a. Both lexrs are reprinted in the Appendix
in this earalb511e_
3. Sol Lewin, “Paragraphs on Conceptual
Arr" (19s7).q11n1ea from Alicia Legg, e1 al..
Sal L¢VWr1 (New York: The Museum of
Modem Arr,197B)1p. ies.
4. snl lewin. in l.egg.s11l Lemrr, 11. 51.
s. According 111 hewitt in ennvereannn
1 November 1999, he raw rhie work 1n navina
atndib as well as ar the Green Gallery in 1464.
Fur an iu11111ari¢1n,aee 115.4 in Martin
rrieiin1an‘a emay.
6. Sol Levlhn, "Serial Proieet ri," Aspen
Magazine section 17, nos, 5-b (Pall-winter
1967): 1-rp. lreprimed in die Appendix in
rhis czralogue).
7. Qninea in *D1111 1111141 An Interview with
lohn ceplane" nan /add (Pasadena: Pasadena
An M1|seum,1971),p. 41.
B. Quoted in Eva Keller,"l. Konstruknonen
1966/b7f Hanne narberen lsaaeli Kunslhalle
Basel, 1991), p. 3 lrranelaeed by l-lbrai Schasrok).
9- ln "Artists on Their Art," Arr Intsrnatiumzl 10, The beg111111nyenne|11d1ng dale, nary
1e,n<>.4l/lpr1le11,1ass):§;, according lo the year 111 which Kawara began
lo. See Richard S, Field, el al., Mel Boehner: work on a particular edition. One1'v1vlImn
Though: Made Visible 1966-1973 (New Haven: Years-Puri exisls ln rwelve editions while
Yale University Art Gallery c. 1995), edirlol-ls of Une Mxllmn Yellrs»Flmm' are silll
\\. Mel Bochner. ln “Mel Boehner," Dum 2, in progress, about n1ne having been completed
no. i<l=ebrnary197e>1n4_ to date.
12. Ibid. 11. ln the may series,Kawara1s nni hound
13. Mel Boehner, conversation with the author, bv a system uf production, painting one or
November 1gq;, several pa1n1111gr an some days or nnne bn
14, lvlel Boehner. ~‘serial11y and l>he»1ngraphv." rnher dave.
catalogue sratemem in Av! in Series, Finch 22. See Bruce Boise, [Alighiero e Boel\l],
cnuege li/l11ee111n, 1967; repnniea in Mel Borhner A1rfb1nm11.nn.1nllnne 1973); s3_
(Rio de Ianeim: Centro Arte Hélio Oiiielca, 23, Dan Graharn,“l~lerr1ee for America."
1999), P. 54. Boehner enlieel his review of /me Magneme 41, ne. 3 lneeernberelannary
Lew1n'1 Dwan Gallery e11h1b111r111 saying: 1~;6&67): 21-zz.
"The indicated sum ofthese simple series is 24. Sol l,e\'Virr, ln Legg, Sol LEVWH. p. 130.
1rrea11e1ble enrnpleniy _.,_ They aeinnna" mm
Magazine 40, nn. 4 lsepiernbereoeinber 19rb|=
bil. Furthermore, in “The Serial Attitude”
<A7.~/11711111 5, nn. 4 [December 19571; z&33).
he discusses preeeelenrr for, and examples on
a range nr serial nieihniie being used a1 ihe
time in an and music.
1;.A1lr1a11 Piper, 011 0/Order, oar rfsighr
(Cambridge, Mass.: MIT Press, 1996), 1:4.
1is_lbi11.,p,;.
17.lbia.,p.19_
11. lbid.
19, lbia., p. 141.
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Andrea Miller-Keller
rig. 33. Sol |.ew1tt.Ct7 nor for
Philip G/ass:Musrcr/1 Vwe/ve Parts,
1989. virgin Records Ltn.
vAR|EY|Es or INFLUENCE! SOL LEWITT AND THE ARTS COMMUNITY
With all the recognition that he has received, people still don’1 get how important he ts.
Solis to art what Bach was to music. - Adrian Piper, 1999'
Sol has been the greatest example ofan artist able tu keep moving while staying one
hundred percent true tu l1in1seM - Chuck Close, 1999*
Sol LeWitt's influence in the world of contemporary art during the past three decades has
been broad and deep. Many artists have drawn inspiration from his ideas about making
art, the aesthetics ofhis strategies, and his inclination to engage the architecture ofa site.
His early statements on Conceptual art have become classics in the literature of twentieth­
century art history. lt is a compliment to LeWitt that, although minor copyists dot the
landscape, the several generations of artists who most readily acknowledge his influence
make works of art that pay little or no visual homage to LeWitt's art. While his own work
has remained almost exclusively abstract,” the artists LeWitt has influenced are remarkably
diverse and include many whose works are representational.
LeWitt’s greatest impact on younger artists has come from the extraordinary ways in
which he has managed to merge those two traditionally dichotomous titans, form and
content. Most influential in this regard has been LeWitt’s focus on the abstract art object
as a carrier of ideas rather than as a formal, seltireferential entity.‘ His bold wall drawings
and extensive sculptural permutations that self-confidently take command of entire
spaces have encouraged other artists to think more expansively (see pl. 118). As important
to many artists has been his richly generative, almost narrative, deployment of individual
units in a way that abandoned traditional compositional hierarchies, More subtle and less
fully documented are the myriad ways in which LeWitt’s regard for other artists (young
and old, successful and unrecognized), his collecting practices, and his professional
methodologies have influenced not only artists but also curators, art historians, dealers,
and collectors.
Privileqinq the Idea
Programmatic strategies set in advance allowed l_cWitt early in his career to leap over
what he described in 1969 as "the arbitrary, the capricious, and the subjective" ‘ and to
land in unexpected and interesting new territories. (Of course, the decision to deploy
such strategies was LeWitt`s subjective choice.) And once LeWitt and others had opened
these territories, younger artists then coming into maturity-such as Adrian Piper,
Iennifer Bartlett, lonathan Borofsky. Sandy Skoglund, and many others-were quick
to follow with their own memorable explorations, pursuing LeWitt`s dictum: "ln terms
of ideas the artist is free even to surprise himself”
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Adrian Piper considers LeWitt the individual most responsible for restoring content
to art through his insistence on privileging ideas. "Sol is the person who decisively broke
through the knee-jerk, cartoon-Kantian critical response: `l'm a sensitive arty person.
I just feel things' Sol restored the value and the utility ofthe intellect to the visual arts
better and more emphatically than did Duchamp by making a system central to the con­
ception ofa work and the procedure hy which it is realized." For Piper, LeWitt introduced
a whole new sensibility and reunited the experience of intellectual complexity with that
of strong visual nrtentatrnitf
I.cW1tt`s use of modular units and serial systems along with the expanding scale of
his wall drawings helped to inspire lennifer Bartlett`s epic Rllapsvdy,1975-76 (fig 34).
However, Bartlett takes the lessons learned from LeWitt on a very wild ride. Rhapsody,
more than iso feet long and constructed of 988 individual one»foot-square units, is an
exuberant and unruly exposition on the basic elements of painting and the nature of
originality. She explores aspects of line, shape, scale, color, and four basic figurative
images (mountain, house, tree, and ocean). Despite Bartlett`s decidedly non-hierarchical
lorward march, numerous passages evoke (in part, by chance) familiar art historical styles
from Seurat to Twonthly, and, ofcourse, LeWitt, W`hat initially purports to be methodical
and classical evolves into an idiosyncratic, bombastic triumph uf intellect and humor.

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no as sannv smnftri me H0155 W Sandy Skoglund found certain c\\11eep\u.1l>lru\eg1es uxeful elirh in her dimer, In I/11'
5 sa/rm cfmef, 1914 r1@¢1mqfap~1<
Holes in la Sultirze (jrllclwr. 1974, she photocopied <1 mltine .ind tl1e11 rep|\o1ne<»pied 1h_11
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image and .tll suhwquenl inugw l77\1111e\) untll\he>\1btle.111eehr1111c.1lshi|`t>111ude1n
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meets U1 new an new ccrierrmn she eventually changed course, Skoglund ~e1y> sl1e"1111u.\ll\' tound 1h1~ work re\\'.1rd|11g­
nv me arm, it was very cerebral. Ohse>>ion and repetition in theproee<<oi'111_\lti11glhi11g\i»o11e
constant element in my wurkf” Le\\'in`> i11cre.1>1ng|\ r1»er\1\¢ use ofthe w_1|l und
sometimes all of the walls) d1rectl1'po111ted \he w.11' to "111>t.1||.1t|\\11 .\rt."Skog|1111d, who
worked on .1 I_e\'\/itt wall dr.1w111g 111 1976, l.\|er o|1»e1\'ctl: "The et\11\e111por.1ry impulse
to work directly on the w.1llof1he e\l1ihilion ~1te1>, I \1el1e\'e,h.1~c1lo11.1he|gh1e11ed
awurenesx ofthe relationship hetween the 1111.\ge .ind ils p|.\ee. \\'her1 the inmge 1> milh'
an idea or eu11cep1,.1» 111 Sol l.eWi11\ w<»rk,1hen the \\‘.1|l workx .\>.1>url1\ee,.\llowi11g
the idea \ooverc<\111e lhe 1n.1leri.\l1\y."" (Hulitlredx of rirtista, including, Skoglund, h_1\e
worked on l,e\'\/i11'» w.1|| dr.1wi11g i11s\.\|lr1\1t111»."`l
lonr1\h<111 liorol$l<y'» (,`11m1/111g/111111 1 lo In/l11111',l1eg\111 1909 ll1g_;6),1eA\\1re> an .iccu­
n1ul.\l1ng mick nl X '/1 x 11»||1eh sl1eet>ofpl1pero11 whwh \he r1r\1\\ 1~ \\'r1\111g11\1111l1e1x
in se4|ue11ce,wh1eh he hegrm by e111p|oy111g "Nat pe11,pe11cil.intlp‘1pe1...,\11d\1>i|1g\he
111111d.,.loexerc1>e d.1ily."" lhxrtvtiskfs co\111t111g began .\> .in imenl1o11.\l hre.\l< lor his
thought |1roces5c>,.1nd even inside the res\r1c\1o11~ ol lhis very l1ne.1r .ind \'erye<\11eep\\\.\l

vlwrrirs ur111m1r~¢s; sol t1w111/ow wr nur; ¢uMMu11|r~

 piece, Borofsky eventually found much room to play: “The numbers were written on
graph paper, with a digit in each square forthe first few thousand pages, Afterwardmthe
[format of the] counting became less rigid even though it remained a linear activity.”"
Seeing a connection in their work, Lucy Lippard encouraged Borofslty to Contact LeWitt,
who paid the young artist a visit. In 1973. when LeWitt was invited to select one ofthe
three young artists to open the new artist-run Artists’ Space. he chose Borofsky and his
counting project.
Of l,eWitt's-and her ownfuse of serial strategies, Adrian Piper has observed:

riq 37 Jann simon, Jr, every/nw, i995
sonware, Annie Powertmot no courtesy
of me artist ami ssnara cerinq osueiy
New vom
S013 work and my work a/'tltis ltitnl were very irdluenced by our readings ofSarnuel
Beckett. Berkett...lms this very interesting way of draining external references frnm
it sittlatiun, by listing the permutations, listing the variatians, in how a character in
one ufltts early novels can behave. He achieves in that way a kind a/existential clarity
becuase one is confronted only by the situation in a senti-meaningless form. But of
course the meaning ofthe situation is simply the situation itseM It has nothing external
tn ir. Sa that would lie mmrherform of the permutational conceptual strategy that
Sol was using. 'i

The artist Iohn Simon, lr., works exclusively with computer­

generated images on the Internet. Every Iron, begun 1996, takes
place on a 32 x 32 grid made up ofi,oz4 individual squares.
Gwen F|32x32c¢-ro Starting with an image where every square is white, the software
Flltmenz wg element of the grin displays all possible combinations of white and black using all of
to be pluck cr un-rite
the total squares (fig. 37)1 At the rate of too icons per second (on a
smm: even, tem
typical desktop computer) it took only is months to display all 4,3
billion variations ofthe first line ofthe grid. The second line will
take an exponentially longer 5.85 billion years. lt would take several

.lQt lIl
hundred trillion years for the grid to become totally black (the
last "icon" that the applet is programmed to exhibit). Simons says,
"Because there`s no word for that amount of time and no word
5:

l . 5 ,g p for that large a number, several hundred trillion years is my way

A
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“iiiEEEiE!.i5EiEiEEEEEEEEEEEPE of making you think about a very long time," "
The radical precedent of visual artists such as LeWitt, Hanne
Darbnven, Mel Boehner, and Douglas Heubler employing self­
-:t|.:::::=.':::::::::=:::=:..:i: consistent mathematical systems in their work has been important to
"'::::::::::=:::::==:::::!="" Simon. Nonetheless he sees an important distinction between their
preference for systems that they could see through to completion

..:::::::::=:a:=:":::=. and his own work which, in direct response to the vast capacities of

~‘ 1
the computer, works with ideas that play themselves out on a scale

no Ucon.
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of time that exceeds even our imagination. ‘S
l.eWitt`s work has often been thought to be exclusively cerebral,
and the artist to be the ur-rationalist of his era, despite his own

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statements to the contrary l"(Ionceptual art doesn't really have much to tlo with mathe­
matics, philosophy, or any other mental discipline." ‘”> l,e\\'nt\ preset systems, along wnh
the dominance of straight edges, right angles, arcs, and geometric tigures, haie sometimes
distracted viewers trom discerning the sense of plat' that ripples through his art. As this
retrospective confirms, his teuvre includes humor and flirtatlons with the ahsurd. Sherrie
Levine is one of many artists who "grew to appreciate l,e\’\`1tt`s light touch...the playful­
ness of systems that go nowhere." " Iohn Baldessari paid early trihute to l_e\\'itt's ideas
and sense of humor in Bfxltiessnri Sings I.e\Vin, 1973, a twelve-minute videotape in which
Baldessari sings (flatly) each of LeWitt`s "Sentences on (Ionceptual .-\rt" to the accompa­
niment of snippets from familiar folk songs and show tunes lfig. 3R].
lim Hodges describes his relationship with Lewitt lwhoni he has neier nietl as one
of"ideas and casual fun...sort of like a square dance, with changing partners." Hodges
tlrst encountered "the idiosyncrasies andthe kookiness of I e\\`nt" at Ie\\'m's rugs print
retrospective at The Museum of Modern ,~\rt: "l t'elt a kinship with him andthe profound
humanness ofhis work. It was not as cool and analytical as l had previously thought."
Intrigued hy "how LeWitt,1n usmg the wall as a ground, uses architecture as a material...
[and takes] architecture to make a painting," “ Hodges created the esact opposite at
the Center for Curatorial Studies at Bard College (Annandale-on-Hudson, New York),
near at long-term installation ot'5ol le\\.’itt's \\l1lI llmwing 2475, igtto, a \\orl< teaturing
color ink-wash pyramids. Hodges's lil] Tllen. 1995, is a to x to x 14-loot freestanding
room with portals, built out ot |34 stretched canvases tlig, 391.
It is worth acknowledging that l.e\\/itt has helped to redeline and expand what we
understand heautv can he. He suggested in his |967 "I’aragraphs on Conceptual Art"
that "what the work ol .tri looks like isn`t too nnport.n1\" and that "Conceptual art is
made to engage the mind ol' the viewer rather than his eve or emotions." "' However,
Louise Lawler suggests that "1.eWitt was always very generousmevervone was welcome
at the table ,... He consistently offers the viewer pleasure and beauty, and opens up
these possibilities for others." L" Chuck Close notes: "Sol l.e\\'1tt’s work is always so
Vanture; or oottlrner; sol crwov lun we ,ous ennoolow
 'ii V
T".‘;'r£=sfF“ f,$"&£|<ei beautiful to look at and so beautifully made. It’s just as great to
look at as it is to think about," "

V J
"Vin always surprised," says Byron Kim,"how beautiful his work
is. l think it is more than that the system he devises is inherently
right and beautiful, and that it therefore produces a beautiful work.
lt`s because he has a great touch and a great eye .... And this is

,,I
where he has influenced me the must directly .... There is some­
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thing about getting the idea and figuring out exactly how it will

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‘ti7\"tW1W7'i§"'_!f‘f"..'r ttitirrlata
\\ork and look ni trriek mind that is akin to having a good touch." Il

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I 7
When asked in will to consider the significance of LeWitt`s wall
drawings,(1arli\ndre specified two aspects important to him:
"'l`he first is Sol's invention in his wall drawings of an utterly

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new arf form ._.. But must important to nie is the ravishing beauty
which Sol so often attains in these works." “
"I have always loved Sol's work," says Mierle Laderman Ukeles.
~» - =>*i an » - sssss '- ~ an artist whose own art has engaged personal and civic responsibility

oI .ita1»f~»
§ea;*=aka_n=a§fE => '- ¢ 'r 'fd' 'ITM
lfig. aol. "lt is 'lalmud\c4that is, obsessed with trying to think
things through. He has spent his whole life trying to think clearly,
at' FlNP¥,¥'!‘
ha’ Q; ~=';,.
Fm, .H‘_Ie~_ as a visual philosopher. There`s clarity and honesty, a democratic
openness in his work .... His large wall drawings may he detached
from his hands, but they are plugged into his heart." 2*

The Written Wtlfd

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l_eWitt`s writings have been central to the formative dialogue on
tloncepttial art that emerged in the late igoos.” Indeed, Lucy
Lippards landmark Six leurs: The Demnlernzlxzatmn trffin
H966-1972), is dedicated “lb Sol." During the past thirty years,
l,eWitt`s writings have continued to interest artists, students, and
scholars. The artist Annette Lemieux, who often presents l.e\Vitt`s
works and writings to her undergraduate students says, "lf by
chance l neglect to do so, the conceptually inclined students will
stttrnlsle onto his writings on their own and present them to me.
Then l catch hell."”`
One crucial text grew ottt of Le\\`itt`s close friendship with Eva Hesse, which made
hint keenlv aware of"the problems that women artists face in a world dominated by a
male hierarchy (critics, editors, nntsetnn and gallery administrators). There seems to be
an implicit rule...that a woman can never be considered the dominant practitioner uf
a style or idea," V For some artists [such as Mierle Laderman Ukelesl it was helpful to
know, “hen first encountering l.e\\'itt's work, that feminist criticclLu
tppar
-v L'great
¢j , 1y
admired hiin. And his early support of women artists is widely known. \’\/hen Eva Hesse
was living in Kettwig, Germany, with her marriage failing and creative spirit debilitated,
l_e\\`|tt wrote her a hard-hitting and heartfelt motivational rift?

ri r » liar
 You seem the same as always, and beingyou, hate every minute ofit. Don’t! Learn to
say “Fuck You” to the world once in a while. You have every right lo. lust stop thinking
worrying, looking over your shoulden wondering, doubting, fearing, hurting, hoping
for some easy way out, struggling, gasping, confusing, itching, scratching, mumbling,
bumbling, grumbling, humbling, stumbling, rumbling, rambling, gambling, tumbling,
stumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning,
horse-shitting, hair-splitting, nit-picking, piss-trickling, nose-sticking, ass-gouging,
eyeball-poking,finger-pointing, alleyway-sneaking, long waiting, small stepping,
evil-eying, back-scratching, searching, perching, besrnitching, grinding grinding
grinding away ot yoursebf Stop it and just no,
From your description, andfrom what I know ofyour previous work and your
ability the work you are doing sounds very good. “Drawings-clean-clear but crazy
like machines, largen bolden real nonsense.” That sounds wonderful-real nonsense.
Do more, More nonsensical more crazy more machines, more breasts, penises, cunts,
whatever-make them abound with nonsense. Try and tickle something inside you,
your “weird humor” You belong in the most secret part ofyou. Don’t worry about cool,
make your own uncool. Make your own, your own world. Ifyou fean make it workfor
you-draw and paint yourfear and anxiety And stop worrying about big, deep things
such as “to decide on a purpose and way of Me, a consistent approach to even some
impossible end or even an imagined end." Mm must practice being stupid, dumb,
unthinking, empty Then you will be able to vol I have much confidence in you and
even though you are tofmenting yourself the work you do is very good. Try to do some
BAD work. The worst you can think ofand see what happens but mainly relax and let
everything go to hell. Mm are not responsible for the world-you are only responsible
for your work, so do it. And don’t think that your work has to conform lo any idea or
flavor It can be anything you want it to be. But 1/'We would be easierfor you #you
stopped working then stop. Don’tpunish yoursebf Howeven I think that it is so deeply
engrained in you that it would be easier to Do. 1”

This letter, a deeply caring vote of confidence and kick-in-the-pants (the repeated
word “DO” is drawn large and decorated), has been music to the ears of several generations
of young women artists since it was tirst published in 1976.l" lanine Antoni, for instance,
who does not see a particular connection between her work and LeWitt`s, shares this text
with all of her young women students and assistants.”

Lewitt as Mellfor and Collector

Throughout the years LeWitt lived primarily in New York, he was accessible to serious
young artists, many of whom recall his openness and encouragement. When Adrian Piper
was “blown out ofthe water" by LeWitt`s 49 Three-Part Variations on Three Dwerent
Kinds ofCubes (pl. 65) in 1968, she wrote to him about her response. He replied with the
gift of two drawings and the suggestion that they meet for a beer. A lasting friendship
ensued. Sandy Skoglund, subletting in Manhattan during the summer of i975, wrote to

vnizrues or mrtumcz: set Lewtvr inn me Anus eouuonnv

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Significant discrepancies in the market values of some of these exchanges don`t matter
to LeWitt.
In addition to such exchanges, LeWitt wotild occasionally purchase works from other
artists, even when his means were very modest. The composer Philip Glass recalls that
“he supported so many people, but it wasn`t generally known because he never made a
thing about it ,... [Sol used to] buy my scores, because he wanted to see that I had some
money. I used the money to live on or to buy equipment. At a certain point, l realized
that Sol had all the early pieces ,.., They were up at the Atheneum in Hartford," " Other
artists have similar tales to tell. LeWitt and Carol Anrlroccio LeWitt, his wife since 1982, “
have gathered a remarkable collection of contemporary art, which today includes more
than 2,6oo objects by more than 250 artists. “
The first public exhibition drawn from the collection, N0 Title: The Cullectitm of
Sol LeWitt, was organized in 1981 at the Davidson Art Center by Iohn Paoletti. It was
accompanied by an ambitious no-page catalogue and a seminar at Wesleyan University. "'
Some of the students in this seminar went on to pursue their own callings as artists or
curators, and one of them. lody Zellen, recently wrote to LeWitt about her involvement:
"Having hands on experience not only curating an exhibition but studying those artists
and having access to their work was a tremendous influence on me and my work, l was a
photographer at the time who felt that the hlack and white photo was sacred ,.,. Robert
Smithson's writings and access to your collection changed all that." ‘T
The next year the Atheneum organized the first ofa number of special exhibitions
drawing from this rich and expanding resource; On Lfrcnttan included works by sixty
artists,” Byron Kim has a clear recollection of his visit: “My Grst moment of contact
with the artworld in which I now reside was through the I.eWitt Collection. When I was
a senior English major at Yale, 1 went to the Wadsworth Atheneum during a field trip...
and seeing that work affected me profoundly. It was a truly liberating nioment."’°
In |984 the Atheneum co-organized with Independent Curators Incorporated the trav­
eling exhibition From the Collection ufSo1 LeWitt, which circulated more than fifty works
to venues in California, Michigan, Florida, Pennsylvania, Texas, and New York City. "l Over
the years the Wadsworth Atheneum has made extensive use of the LeWitt Collection in
various ways, and from the mid-t9Bos through the early 19905 it was the only museum in
the United States to have significant displays of important Conceptual art on a regular basis,"

Professional Stance
As influential as LeWitt`s work, ideas, and quiet generosity have been for several generations
of practitioners, it may be that his methodology as an artist has had an equal impact.
Byron Kim, more than thirty years I,eWitt's junior, suggests, "I think that a lot of artists
unknowingly owe Sol a lot, The reason we are unknuwing, I think, is that he has influenced
our modus operandi more than the actual things we make." '” Chuck Close aptly says.
"Sol really knows how to be an artist. He wears being an artist like a fine suit of clothes.""
LeWitt has taken an active role in introducing dealers to the work of other artists,
something both frequently remember with gratitude. A number of now-prominent

vnwtcrizs or iwtimter: sat tewiir ous me sms euwitiwtiv

 dealers recall LeWitt`s support at a time when both he and they were emerging onto
the public scene, Max Protetch, once an unknown young dealer in Washington, D.C.,
considers the international network of dealers and galleries that LeWitt built “almost
single-handedly" to be “another LeWittian structure, [with] each of us providing an outlet
for Sol‘s creativity and a sequence of opportunities for him to show the permutations
and combinations that result from his grand visions ..,. Without him, it would not have
been possible to continue my gallery after the first year.” “
Nicholas Logsdail, founder of the Lisson Gallery in London, met LeWitt on the dealer`s
first professional visit to New York in i96B. He had written in advance, and I/eWitt
responded with “a positive, kind and encouraging letter intimating that he believed
hardly anyone had heard of him in the UK, and he would be delighted to do a show with
me subject to our meeting later in the year." This despite Logsdail’s having made clear
in his letter that he had little to offer by way of money, space, or, at the time, reputation.
LeWitt’s first exhibition with Logsdail featured the artist’s innovative wall drawings. “The
show was beautiful and did well. He could see that things were difficult and suggested
that I pay him when I could from sales and that he would have no objection to my using
the money to do one or two more good shows before paying himf’ “
LeWitt has, in fact, pioneered an unusually independent stand with dealers. He has
adamantly avoided exclusive representation by any single one. And, in Manhattan's dense
and competitive gallery scene, LeWitt has over several decades set a useful precedent by
exhibiting significant work with small galleries and young risk-taking dealers as well as
with prestigious establishments, He often has agreed to mount an exhibition of drawings
specifically to help support a struggling but worthy enterprise. In such instances, his
instructions are to sell the drawings for any price they can fetch. "`
LeWitt has always wanted his work to be widely available. In the early seventies he
began a series of Hundred Dollar Drawings (fig, 42), which he insisted be sold for that
price and no more. (Although LeWitt carefully stamped many with instructions to keep
the price at $1oo, they are now usually resold, over his objection, at their higher market
value.) For decades, especially when traveling, he has made small ink drawings on post­
cards, and mailed them to friends and colleagues.” These objects, which probably number
in the several thousands, are treasured gifts.
Similarly, LeWitt always has been responsive to any venues that commit to showing his
work with care and respect. As a consequence, he has participated in an unusually large
number of exhibitions. Chuck Close recalls a game he used to play in the 197os: when a
new issue of Arqforum arrived in the mail, Close would immediately open the magazine
and count how many shows LeWitt was in that month.” Always one to welcome each
exhibition as an opportunity to play out new ideas, LeWitt dismisses as nonsense any
suggestion that he has risked overexposure and overproduction and, consequently,
suppressed his own market prices."
It is now legend that LeWitt, eschewing the concept of the artist~celebrity, has consis­
tently, even vehemently, avoided being photographed. He insists that viewers should
focus on his work, not his face, and wants the art he makes to speak to the viewer directly

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nq az Sol tewin umm 0/r/0/we
P 609.1976 Cu! /HAD and ink
Lewin colimron
and unencumbered. "` He ndanmntly refuses to he thc signilier nl' his \\'orl<, lie shows
up at his openings reluctantly and ns late as pnssihle. Chuck Lilnse, who Ihr nuny years
wanted LeWm to be the subyecr Mun: of his mnvnumenml piurtrrms, has wrnu to respeci
his friends position .md nu lungcr uwnsiders surh tx request .\pprupr1atc. "
Like nuny artisls, l.cWi\t is consistently generous lu .\r\ .iutnnns #br causes he supports,
sometimes lwlh giving n wnrk for auction [\\‘nhnn\ selling .\ reserve) and purchasing
work hy Another artist at the same .\\|c\mn. lie wiis .\ c\\l`\\undcr nt' Printed Mutter. the
Gm distrihulnrul`nr\|sts'l1m»k~ in thus u\\n1\ry."Un se\cr.1l\\cc.zsi\\m when Primcd
Matter has fnlteretl, he and A|\drmti<> I e\\'i\\ stepped in to help ensure its sur\'i\'i\l.
I,eWi\\`s presence .is .\ nun nl principle in the tirtistit tomn1un|\y has been meaningful
tn nmny. "Sul was thc mnr.i| center ul lhc group," rcmlls r\dri.\n Piper, Q' referring to the
innov;\\i\'c and polltieally astute downtown cmnrnunily nl' thc late 1960s ihtxt included
Lucy Lippnrd, Robert Ryman, Hans .ind Linda Himckc, (hrl Andre, Dornlhen R\>ckh\|rne,
Mel Bnchner, Sylvm and Robert Mangold, Dan (iriilmvn, and o\l\crs. Although [,eWit\ has

vnwirrirs nr wrturmr sat tewm AND wr .mrs <QMM~~|vv


r| r.ru
it i.,r..»..................,~.,...,,,.,....,1.,....
| \.,,.....~..,. , .. . ,.. .f -utr ri ...Nt
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rr 1, ,.. ` '....r.rat,.,.i.».§",3fI2.L'.'....5‘.I.lL,...,1..nt... r.....|..--..»...<. u..m.,,,.¢
. ..,... .1 .».., ,.. aa r..-W ,»». ,.... at
Fig 43 Glenn trqon, unm/ed
#James Ha/aww, |992
owsnck collection or the artist,
imma Mum nun
been quite clear that he doesn’t make “political art," 5'
he is alert to political and economic implications, reads
a great deal of historyg and follows news events carefully
(as do many artists), And he is keenly sensitive to issues
of equality, fairness, justice, and free speech.
“I saw a photo of [Monument] for the Missing lews
in a book on Holocaust memorials. Although I was
familiar with LeWitt’s work, this was the first time I
.... »,..,r.»...|..i,.,»-t
.».. ....».»..,.
l ‘ I" mm '-uluna. , , had seen a sculpture that directly addressed a particular
D'
historical and political situation,” recalls Glenn Ligon.
“What impressed me was that the sculpture still looked
like a ‘Sol LeWitt.’ It wasn’t that he changed the formal
aspects of the sculpture in response to a subject matter,
he acknowledged that the sculpture’s legibility depended
on its context and on language?" I_eWitt, when making
this structure in Munster, Germany, for Skuhatuf Pmjekte
in Monster 1987, spoke his mind and expanded expo­
nentially the public meaning of his piece by adding this
brief subtitle to the original title, Black Form (pl. 285).
LeWitt decided to do this when visiting Munster
because, “Being Iewish I noticed the absence of Iewish
artists and curators, Iewish bakers and candlestick
ma.kersf”‘5 In 1992 Ligon chose to make his first wall
drawing at the Wadsworth Atheneum, in part as an
homage to LeWitt (fig. 43). Ligon filled a large corner
space with a powerful quote from Iames Baldwin,
which reflected his own thoughts as well: “You see,
whites want black artists to mostly deliver something as if it were an oliicial version of
the black experience .... And when you go along, you find yourself quickly painted into
a corner .... " 5'
In 1981 lack Boulton, then curator of The Chase Manhattan Bank collection, approached
LeWitt about the purchase of a wall drawing. LeWitt declined to sell one because he
objected to Chase C.E.O. David Rockefeller`s failure to honor the anti-apartheid boycott
of South Africa. Boulton, incredulous, asked LeWitt how he could take such a stand when
Rockefeller was such an admirer of his wall drawings. Without hesitation LeWitt replied,
“I didn’t say he was stupid. I said I didn't like his politics." ‘S
Over the years LeWitt has turned down commissions from manufacturers who
were substantially involved in the production of armaments, including Honeywell and
McDonnell Douglas. In 1981, as the Wadsworth Atheneum was organizing a major
retrospective of his wall drawings, I/eWit1 objected to an offer of sponsorship by United
Technologies Corporation, which is headquartered in Hartford. After Atheneum director
Tracy Atkinson talked with LeWitt and the potential funders, the museum honored the
artist`s wishes. A number of other artists have taken similar stands. Together these
important gestures suggest that artists are entitled to have some role in determining
who may claim association with their work,
Such incidents can be painful, though. In 1995 LeWitt was asked to build a cinderblock
structure in front of the Solomon R. Guggenheim Museum on Fifth Avenue in New
York as one of a select group of living artists invited to participate in Absrrufrinri in the
Twentieth Century, scheduled for 1996, One day he received a concerned phone call from
Mark Rosenthal, the exhibitions curator. Rosenthal had read in The New York Times that
LeWitt had joined a dozen other participating artists in endorsing a statement authored
by Hans Haacke and released at the press opening of an important survey of Conceptual
art, Recmtsidelirtg the Object afArt 19654975, at the Museum of Contemporary Art,
Los Angeles, in protest of Phillip Morris's sponsorship of that exhibition. "’ Rosenthal
told LeWitt that Phillip Morris was a prime supporter of his forthcoming Guggenheim
exhibition, and that he hoped that LeWitt would still participate. After a short deliberation
l.eWitt withdrew.

Epilogue
Mitchell Algus, an art dealer and science teacher, encapsulates LeWitt`s far-reaching
impact on the art and the art world of our time saying: "Sol is the contrarian paradigm
of the successful artist. Alert, yet retiring. Responsive to other artists, yet utterly focused
within his own work. This engagement is manifest in the selflessness of his worl<`s
execution. He is a mysteriously benign presence, odd for an artist who is so rigorous
in his work. This magnanimity gives his art a moral presence, one which is deeply
humanitarian." 5° As a pioneer and inventor, Sol LeWitt`s redetinitions ofthe practice
of art have contributed to many ofthe major changes that characterize the landscape
of art history at the beginning of the twenty-first century

vniuirs or mrtuwcr: sat Lewin ma mr sms cawuaivv

 Notes
1, Adnan Piper. eunyersarion w11h au1hur,
io 1v1are11 1199.
1, 01111111 Close,conversat1nn w11h au111o1,
18 Murclt \999.
1, Exceptions 111 Lewirvs al1s1ra11111n have
occurred 1nus1ly1n his ar11s1s'l1ouks,sorne of
whi111 are eoniposed ufph11111graph11 unages
(pl. 34912)
1:1 wanted 111 ge1 as far away from non
ludd's ‘spe1in1 objects' as pustible"(LeWitt1
eonversarion wnh au1h11r,1 Nove111l1er 19191,
1. sol LeWitt, " Paragraphs nn Conceptual
Art" 111691. quoted froni “wr11111g1 of sol
LeWitt," in A11e1a Legg, e1 al., sol LeW1!t <New
York; The is/1useu111 of 11111dern Art, 197111, p. isa
(reprinted in the Appendix in 1h1s catalogue).
s. ~' Paragraphs on Conceptual Arr," ouored
from Legg,SolLeW1t1, p. 1111,
7. Piper. in March 1991.
a. carol s11u1er1, “Fn1er1ainrnen1 and
u1s1re1s," tn sandy skngiunds lreahry Under
siege; A Rcrrosperttve (New York: 1-larry N.
Abrams, 1998), p. 29.
9. Sandy Skoglund, correspondence wi1h
auth<1r,1o 1/lay 19111.
io. others inelude Daniel lauren, charlie
Clough, Ronnie Cutrone, Peggy cyphers, Allan
Davies. 1>1e1 u1r1o1, Herbert Disrel, 1<a1uk11
lvliyarnoru, A/lar1ha Keller, Christian iviarelay
Man 1/111Ll11an. saul osuow. Luea Paneraazi.
Adrian Piper, '1-r1s1ano 1zol111an1, Ulrich
lmuekriern, An11111ny sansona, Marien sehou1en,
Peter Shelton, carey s1n1111, Pat s1e1r, Tony
Tasser, nayid Trernlen, Pe1er wane, and
lames welling,
11,1viar11 Rosenthal and kiehard Marshall,
/1111111111111 lznynplry (New York. Harry N. Alsrarns,
|9501 P. 33­
11. lhid,
11, Adnan 1>1per,“><enuphn11ia and the
1nde1111a1 1>res1n1 111 Lecture." 011111011/en
0111 1ys1g111 icarnlnridge, 111as1,1 11111 Press,
199111. 1 111
11 Matthew M1rapaul,"ln l<1hn s11n11n's Arr,
nv1ry1111ng 1s 1>oss111le,"N1»w vnyk Tino, 17 April
\997­
1s.|o11n s111111n.1r.,111nversa1111n wnh author,
11 1/larch 11111 A working version 11fs1rn11n's
Every 111111 has h11n implemented as a lava
applet and 1sl1»1a1ed al fvrry iron. other
11er1i11n1 1an be found on simnns hnrne page
and s111d1u1n.an online an gallery sp11ns11r1d
hy 1>1a csnier for ihe Arts. Go 1111
inynnnumeral 111n1,
11. “ Paragraphs on Conceptual Ar1;'11u1111d
1111111 Legg,S11lLeV1ht1.p,166,
andyea Milrer-Keller
17. sherne Levine,conversat1on wi111 author.
11 February 11111.
1a_ lim Hodges, conversation w1111 author, 11
April 1999,
19. "Paragraphs on Conceptual Art," quoted
frorn Legg. Sol Lawn, pp. issoa
zo, Louise Lawler. conversation with authori
11 March 1999­
11. Close, 18 March 1999.
11, Byron 1<in1, correspondence wirh author,
as February 1999.
11. carl Andre, correspondence with author,
lo lune 1931.
24, Mierle Laderman Ukeles, conversation
wnh au1l1or. 11 1s»1ar111 1999,
25. See Adachlara Zevl, ed., Sul L¢Wir|:
Cruiral Tern ilzornes L1l1ri de A1;1u11,1og;l;
as well as in Legg, sol Letwn, pp. 1ss~74:
and 1111 Appendur tn this catalogue.
ao. Annette Lemieux, correspondence with
au111or, 1.11une 1991,
17.1n Legg, sn1L111a11_p, 111.
11, Luey 11, Lippard, Eva Hesse (New York:
New York University Press. 19711, p. 15­
19, 1l11d.
111. According 111 Byron 1<1n1 lin 1<1111, as
February 19991.
11, Lewin lnrnself recalls a 111111 when, in the
early 1~1o11s, new 111 New York and having quit
his 11111 in order 1o he a full-11n1e art1st,he was
fuundertng a bu. not rnaking art. 1-le o11asi11n­
ally went to the Cedar Bar “to meet artists ...,
However, 1 was 11111 s11y to talk with anybody
but I saw them." He recalls with gratitude that
Earl Kerkham, an artist who had studied with
laeques Villon in Paris and who knew his way
around 111e New York an world, approached
the lone artist, visited his studio, and opened
doors for htm at the Stable Gallery (which
kept LeW1tt`s work for six months but did not
s1111w 111 (LeW|tt,conversat1on wi1h author, is
March 19991.
11. un111d s1a1rs taxIaws,wl11ch permit visual
artists tn deduct only the cost ofthe materials
for 111111 own works nr work they have aequired
hy trade, discouraged Lewin frorn nraking 1111
gift at any earlier date
11. Glass quoted in The Portraits speak:
Chuflt Clasei11Cm1versati1m with 27 o/Hts
subyerrs (New York: A.R.'l` Press,1997)»P. ga.
sa. car11lAndro11111 Lewin now performs a
role equal to her husbands tn their collecting
de11s111ns_ For several years she was an assistant
to Brice Marden and Chuck Close, who calls
her, categorically, "thc single nrosr sornpe1e111
person l`ve ever met." She also worked for
Robert Feldman at Parasol Press. Androccio
LeWitt is widely respected for her sensitivity
to the needs of artists and the nonprofit
institutions that suppon them. She has brought
her energy and talents to many projects, from
Printed 1/laner in New York city to rhe revirale
ization ot' Main Street in Chester, Connecticutr
and as an active trustee at the Wadsworth
Atheneum, Hartford (1993-99). In 1980,
Androeeio Lewin oo-founded Ceramica. an
importing Grm that mitially specialiaed in
reviving traditional ceramics from oeruia, italy.
11. The collection includes i1npor1an1 works
by Hanne Darboven, lan n111l1eLs,1~1ans 1-laaeke,
Eva Hesse, Donald lt.\dd,Anish K.-spoon Richard
Long, Adrian Piper, 1>a1 Steir, and many o111ers_
111. John Paoleni. e1 al., N11 mu; The
Cnllemnn of Sol LeVW!T (Middletown, Conn;
Wesleyan University Art Gallery and Davidson
Art Center. 1981).
17. lady zellen, correspondence w11h Lewin.
11 May 1999. Other students in the seminar
included artist Renée Green and lohn Ravenaly
currently eurann of 1wen1ie1heeen1nry an a1
rhe Virginia Museurn of Fine Ar1s.
11. This was the Erst long-1er1n installation of
c11111ep111a_l art in a United States museum. 11
included work by Eleanor Antin, Mel Boehner,
Dan Graham, Dorothea Rocltburne, Bd Rusclta,
Eve Sonneman, and others.
31. 1<irn,a1 February 1919.
40. Andrea Miller-Keller and lohn Ravenal.
From the Collection of Sol lellhrt (New Yorlc
Independent Curators Incorporated, 1gB4)_
At. The l.1cWitt Collection also inspired a
number of small one-person exhibitions in the
Atheneum’s M/1T1t1X program: Eleanor Antin,
Ida Applebroog,la11 1-1arni|1on Finlay lee
Louno, and Sylvia Mangold. aspeeially over
1111 past decade. easy access ro 1111 eolleennn
has allowed the Atheneum to enrich the long­
term installations drawn trorn its pern1anen1
collection. Most ofthe 1we111y e1111il1i1ions
drawn pnniarily from 1111 Lewin colleenon,
bnth general and thematic, bear the imprint ol'
young curators committed to the use ofthe
Lewnr c11llee1i11n1 Ann lxuekley, 1o11n lzavenal,
laner Passehl. laekie 1»1a1_Allis1er. 1<1n1 Davenport.
and iarnas lzondeau 1>ul>|i1 edueanon prograrns,
including extensive doeen1 rraining. numerous
gallery talks, and lectures, have always aeeorn­
panied the 1ollee1ion’s use. 1/lost signiiieanuy
the LeWitt Collection, despite the sophisticated
challenge of its content, has become a user­
friendly experience for Atheneum visitors,
The collection has lung since grown beyond
the rnuseum`s Capacity tu care for and store it.
The LeWitts recently renovated an abandoned
factory near their art-lilled home in Chester.
cernieetienl. where most ofthe later acquisitions
are stored. They have aien placed a number
of works on langerenn loan to colleges and
universities throughout the Northeast.
42. l<irn. is February rage.
43. close. is March im.
44. Max Protetch. conversation with author,
els April 1999; and correspondence with author,
17 Mly 1999.
as. Nicholas largdail, correspondence with
author, Jn lune 1999.
46. In 1996, in gratitude for LeWitt's frequent
support. lnng-rirne New York dealer lnlian
Pretro bequeathed his personal collection to
the Wadsworth Alheneum, including works by
Carl Andre. l0hn Baldessari, Robert Barry,
louise Lawler. Allan McCollum, Eve Sonneman.
and others.
47. For ineranre, Lewin would send ink
drawings on postcards of portraits to Chuck
clnee and on postcards of flowers and gardens
to Leslie Close. who is well known for her
gardening skills tclaee. is March regal.
43. lbid.
49. He has been ahle ro maintain rhn rnaee
pendence tae well as his extensive schedule
oftravel and praierr dearilineel with the able
help ofSusanna Singer. his assistant since rata.
Fnnenhning as an nannniarrnnrr and reigning
L:Wilt historian. Singer coordinates all installa­
tions and commissions. She was also the editor
ofthe three catalogues raieannee of lewine
wall arawinga.
50. "I am not Rock Hudson," he once
explained to an approaching newspaper
photographer as he quickly covered his free.
This occurred at the Wadsworth Atheneum
prior tothe opening ofSalLeWl11 wall
Drawings, rees-rear. Thc phaingrapher war
documenting the installation for a Narrhmrx
Magazine cnver story. Lewin ie more relaxed
with cameras in a fannly context.
gr. Close, in March rang.
Sr. The other cofounders were Carl Andre.
Edit eiertk, Lucy Lrppard, walter Robinson.
Pat Stelr, Irena von Zahn, Mlmi Wheeler, and
Robin Wllltc.
53. Piper, ie March lass.
vawmlzs or lwtuancs: ser Lewin ann mr urs cemaunlrv
ea. "1 do rnn make nrt nr change ninety. lil
wanted to do this l would make different kinds
nf art" (in Andrea Miller-Keller, "Excerpts from
a Cnrreepnndenee, \y8lfl9B},"Snll.¢'Wx1l will
Dmwmgs i963-|984 [An\s\erdam: Sredelllk
Mnrenni, nasal, p. zzl,
Se. Glenn Ligan, correspondence with ainhrrr
19 lune lqgg.
in lewin, conversation wirh author, i7 lune
im. This prere was nrheeqnenrly pnrrhaserl hy
the cilyofHamhurgfA1nrna.
57. /‘ts quoted ln Andrea Miller-Keller, Glenn
Lrgnn/.warnlx ire lnarrrnrrlr Wadsworth
Alheneum. l99zl. p. l.
ia. Susanna singer, enrreeparnienre with
author, 7 luly 1999.
re. lnfnrrnea alrhe sponsorship just shortly
before the exhibition opened, Haackc chose not
lo undermine the curatorial effort by withdraw­
ing his work. Instead, he asked that a stalemenr
of protest be plaeeal nerr tn his prere.
ea. Mitchell Algae, correspondence wnh
author.11l\me\999»
5; ‘-|..» ` »

,nf

John S. Weber
ng. 44. so| Lewin, wsu orawmq #530,
1991, Color mu wash, mstanea in me
nmny ot me Arthur M samer Museum
Han/am umvemtv. camnnaqe,
Massachusetts. courtesy ol me roqq
An Museum. Harvard umversrty an
Museums, The Margaret Fisher mm
ana tnmoqn the generosity ol rue seal
ramuy formation, caerreuna ne Ferrari.
The Hate room1at»an,A.;nes sum ana
oamev senaozm, Peter sonane, and two
Anonymous Donors.
SOL LEWITTI THE IDEA, THE WALL DRAWING, AND PUBLIC SPACE
The decisive contribution of Sol l.eWitt’s work to the emergence of Conceptual art is
now self-evident and widely documented. During the igoos and early 1970s, LeWitt`s wall
drawings joined practices such as Happenings, earthworks, installation art, performance,
and the creation of artist-run spaces in dramatically challenging traditional thinking
about the art object and its place in the world. These radical developments were the work
of two generations of artists who sought to redetine the structures of art and rethink
how it could be made, shown, and supported. During the same period, the widespread
founding of civic public art programs devoted specifically to contemporary art testify
to a parallel and related dynamic: the attempt to make art available to a broader public
while supporting the creation of significant works of art by living artists. The relevance
of LeWitt’s wall drawings to that history has remained largely unexamined, but they
derive from the same era and a common set of concerns. lt is time now to consider the
relationship between LeWitt's work and inherited notions ofpublic art, for, in fact,
the two histories have a great deal to say to each other.
Over the past thirty years, government programs of "public art” and “art in public
places" have evolved into a sideshow for downtown real estate development and mass
transit projects, just as direct public support for artists themselves has eroded. Public art
has been defined in most cases simply as the siting of art in a publicly visible location,
regardless of the nature or content of the work itself. Civic, federal, and leveraged corporate
funds used for “percent for art” programs have focused primarily if not exclusively on
commissioning site-specific works or simply buying existing art objects and placing them
somewhere nominally “public.” In some instances, artists have been commissioned to
work on design teams, as in the creation of mass transit facilities, government buildings,
and even police stations. In all cases, the tendency to originate work of a highly permanent
nature has been a potential problem and real stumbling block for a society with little
social consensus concerning what art is, what it is for, who should pay for it, and where
it belongs in public life, The fate of Richard Serra`s Tilted Arc in New York City is but one
example of how this situation can go drastically awry when public art programs try to
commission ambitious works. And when they don`t, even arguably successful public art
programs foster legions of forgettable plop sculptures in urban pedestrian zones and
decoratively abstract paintings that languish in courtroom hallways.
A central problem has been the practical irrevocability of most decisions concerning
the commission and siting of large-scale, site-specific public works, a condition rooted in
the nature ofthe works themselves. Contractual obligations aside, once they are in place,
it is seldom feasible to move or reconfigure major sculptures and site-specific works as
sites change and opinions evolve. It simply costs too much, and in many cases such works
can’t be re-sited without undercutting their aesthetic rationale and meaning. Imagine the
consequences if contemporary museums operated under parallel conditions and were
tatéA
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effectively restricted in perpetuity from moving major works in and out ot' galleries!

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Yet it is this assumption that dominates public art programs and the artists working with

“till
|DIAGRAM them.’ This leads to a situation of timidity and risk avoidance in the Curation and jurying
of public art, and for good, if lamentable reasons: public art commissioners and juries

}f;i`
have to live with their decisions forever, and they never get to have a new or better idea
about howto use a given site,
The wall drawings of Sol LeWitt offer a strikingly different model of an art structured

,t l .|
to move fluidly from private to public spaces, and to inhabit something we might think
of as zt public domain. Indeed, when LeWitt first began to make wall drawings they were
not intended to be "public art" as the term is described above. Despite this, they constitute

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..._\ \/// ,.,V
l

one ofthe most publicly accessible and adaptable formulations of art that has existed

L L_ Q
y.
since the emergence ofthe patronage system of the modern era in the latter halt' of the
nineteenth century.
A brief review of the particular conditions of LeWitt’s wall drawings is a useful starting

. . r,,.. ,,___l
point. Each wall drawing exists first of all as an idea, embodied by set of instructions
written by l.eWitt. See, for example, the instructions for Wall Dmwir1g#366 from 1982:

me 45-Aa snlcewttt w.n/Dniwmq
:ues 1982 wma my courtesy at me
artist rim taut tmaqns snow me (Quin
fate ann maqfam rm me watt arawwq
an pany ,msc or its installation ami
~» rtwaafamp me fnmutptan
Black mfs using tht' hriglil ofthe wall ns a mdlus, and black arcs using the midpoints
ufllu' wrill its ti mtiius, Tltelm`st1re]illt'd in solid :uid drawn in India ink,
Each drawing is also documented by a small diagram which gives a sense of how the
instructions might be followed (figs. 45-48).
The actual on-site execution of I.eWitt`s wall drawings can be done by LeWitt himself
(although this is now rarely the case). by a team of his trained assistants who travel
around the world on commission, or by teams of artists or others hired locally or recruited
as volunteers to execute drawings for a particular exhibition. LeWitt has conceived several
series of wall drawings specifically to be drawn by nonartists, and has been known to
encourage owners to execute the simpler ones themselves.

J suse
 I.uWir1h_\§ <\>mp.\rud I\i» m\uuL1i<»n~ ln .\ m»|»|\.\I Mm .md mm nom! mlm hu hm i
:hu idm\hn1uncw.1||drn\\~i|\g gm ¢>\i>m §um|11_\|\¢\»u\|; m dnmunm I.»h\m\<»n~_` .\|\u
char v:x|1ib\\|un,\|1c dmw1ng> hm lw p.un\L-A mfr ~4» `1» nm n» pn»lncr`\\¢ mu nun-,
\’\`.11l\|m\\mg> Lan be wld .md rcwlnl, .md \hc\ .ncu\\1l||1<‘l\'\|r.\\\n hu c\|1|ln\\<\n \\\\h­
.»u\ lwmg pmL\\.\~¢L1,Am1 ..» uk- |~11~\\~..\g_ ,».»~~\|»\v mm hm; m1m\g@\\.\»\.»\m1~(»
Mlllcx-Kcllcu du\i|\;;l|\uc.\rly |9x<»»x\\`\1\c\ dcnr, Iu\\\u l\`\~ nm .\l\».\\~ u»|\»|L|urud lhu
\d¢.|~11>| Im w.\|| dr`\\\~i|\g~ .\» ~ul\iu\ m \|w vmrm.\\ ~\r|\\\uv~ m`pri\.u< u\\n¢r\lup

.f\ndrc`1M||\cr-Kcllcn'\\'/1ur|V\m1wlln\ml1Jm\\n|_g/U11/w|v|zz.m»»llm1mur umm/m
u/ml |> zz //ml ,um zhmk run mu ~w/lm_qf I/:u mlm! Ihr p/nur
Sul |c\\||1. Hu//1/<ru1z|>u/mmlw/r, lm: r/wp/nu umlwz/>n(\\1¢/zum: n [vumylvm/_g/11.
1/~»,¢l.», ~~.,\~z». L~~,;-»L»/|L-/|.1‘»./ 11, L1/f\~.»,..»>.'l»/W I/f.»,»l,¢~

\?\IK ,M-\'<»1<~ul/m_g1/rm1_q/zz1uzf~um1nl¢u|1lml|>_~z/l[»um>\Imumvm///mr>/up
Urmmz /u'lr¢1r|~/H1141//5
\| _ /firm Umm: by .m/ml lhwy /fuinugzu\\l|mrmm un/im~l»|ml>1/:um I/zv /um
n1l\¢'»/1/vI1y'>rm!/mmL1mllmmm\mmlfyurl. Hu; Ulm: muy iw puwssm/, `Z\ »\m'l\
u/¢¢l1,"~n,\'> Um/rmlu Slum, "1> ml/fm pun'/w>> ur wm'1/1/w»

sm www wg mu, wx ,W \>»<M\~~, nw wuwf ima M

..YFyeofl ¢»° p\\.
ir’ t‘,'.,, ,, . C
As Miller-Keller senses, the logical outcome ofthe position LeWitt states here is a
situation in which ownership ofthe wall drawing is reduced to an economic exchange
that impinges barely. if :tt all, on the capacity of the work to be executed and shown.
She presses to see where LeWitt would place the limits on how his ideas can be used.

,/rt’/W ­
,. » 0.
AMK: lint tire very often travelling in order to share your work with anyone who is

i/’.. .eh ie §"i» genuirtcly1lttt'rt*stt’d in it, Wu certainly have not reserved the enjoyment ofwall
tirnwings hir only wealthy collectors and museums. Your drawings have been done
in numy prestigious institutions but also in tiny towns and srnall universities across
the Uni/ml Stntes, Canada, and Europe. To whom do you give permission to do
~.».f_,.a.
es `_<a . your drawings?

--.:.wt.»f\i -,1:,~ ~ r. -if ; ' SL: Anyone who wouldfollow the plan is eligible to try (in goodfaith, lwnuld hope).
ii: q`“w=m=»»m}4 AMK: How would yttujeel ifsonieune executed rr wall drawing ofyours without
‘\ it ‘ifltli \\“' pernnssmn but with fmt’ to follow the instructions and in an appropriate sire?
#2 SL: OK,

ef- age- ._ AMK: Would you consider this an "authentic" l.t‘Witt wall drawing?
Sl: les. lt would Ire authentic.
AMK: Would you consider such an unauthorized use ofwall drawing instructions
unethical?

__ _ _ .at ia
Q .F
SL: No. It would be a compliment."

es-»:Véi
‘ ,- ”"`f "`: ;';-JM
-V ­ There are few formulations of contemporary art which have gone so far in proposing a

' ''f
` r,­
distinction between conditions of ownership and possibilities forthe dissemination of art
ideas and experiences. Taken to its logical limit, the permission LeWitt apparently grants
in this exchange would lead to a situation of free distribution of these works. However, it
would be a mistake to assume from this exchange that LeWitt ever intended his drawings
to be disseminated by an underground army of guerrilla wall-drawers working without

li'l\s ~‘\ , _ _,, it

~ \;= ::\;‘lfE ` “ I
19*@=*
his participation or consent, for this is not the case. A careful reading ofthe interview
reveals the artisl`s lukewarm response to the scenario of an unauthorized use of his ideas.

_ ll ; ‘ _ "5--'I
ll » " iz i ly ' It might be "OK," in his words, and might result in "authentic workf' and might even be

|~ ”
l Us
e.f
` S F' ` r `- `
*TFC;
“ ~ _-fr ,As 1, ii _‘ y
rQ;\P,.,s-VV ‘> _ "
taken by the artist as "a compliment." But I.eWitt never meant to set up a do-a-l.eWitt­
yourself franchising operation, and the wall drawings themselves, which are frequently
quite demanding to make, should not be understood in that manner.; Rather, his intent
was to create work that did not require his presence or hand, based on ideas that could he
disseminated widely and with relative precision from simple instructions, then executed
in a variety of sites using readily available materials. According to LeWitt, he wanted "the
idea ofthe piece to he the constant and the physicality ofthe piece to change," a situation
in which "placement wouldn't compromise the meaning."" The result was a model of art
production and distribution which remains largely unprecedented in Western art.
Other radical models ofdistrihution worth considering in this light include projects
such as Eleanor Antin's iuu Boots, the series of postcards mailed to hundreds of friends
and art-world associates (figs. 49-52). In a related development, Fluxus artists and mail

mst
Facing page;
rig. 49. cieenor Antin. l00Boots1n the
Market, 1911. soiana Beach, cuniornia.
may 11, 1911, 9:30 sn, trneilea June 1
19111. alueu-annfwntte picture noeteem.
Courtesy Ronald reiarnan Fine Arts,
New Vork,

r1~z~ su, Eleanor Antm, :oo soars

crreung. 1911. Lomas santa re.
caniornra, may 11 1911,1z;:1o en.
trnunea July19,19111_a1ae>r-anafwnrte
meture uostearu. cuurtesy Runnin
reiarnan Fine Arts, NewYork.

ng. 51. Eleanor Antin, roo Boots on the

Roan, 1911. Leueama. catifnrnra. July
12, 191110130 A ~,<1na1|eo September 1,
19111. atacufanowute ureture noetrera
courtesy Ronald Feldman rrne Arte,
New York.

nu. sz, Eleanor Anun, ma Boots Cross

Herald square. 1913. asm Street ann
aruuaway, New York. May 13. 1913. a;1o
1.n.1n1a11en June s.191:<> sleek-and
wnne nreture noetraro. Courtesy
Ronald reiarnan rrne Arts, New vert,

Fig. 53, Felix Gonzalezrrorres,
Untitled, 1993.01fset nrrnt on uaner
tencless cnmesi. Collection of the
San Francisco Museum ov Modern
Art. Accessrons committee Funa.
qitt nv Ann S. Bowers, Frances ann
Jovan Bowes, collectors Forum,
Elaine McKean. Byron R Meyer,
and Norah ann Norman Stone
artists ofthe 1960s and 19705 also made direct-distribution artworks, often in multiple,
that circumvented the gallery world. More to the point are Felix Gonzalez-Tnrres`s stack
pieces from the early 19905 lllg- 53) By requiring exhibitors and owners of the stack
pieces to give away individual examples of the offset-printed images whenever they
were on display, Gonzalez-Torres reconfigured the boundaries between ownership and
possession, using the exhibition and sale of works to underwrite their continuing free
distribution. Yet even this step falls short of the model of structural accessibility embodied
in LeWitt’s work.
LeWitt°s wall drawings are ideas made manifest in a form that is material and visible
in any given execution, yet potentially ephemeral, able to be redone somewhere else.
To be sure, LeWitt has also made permanent wall drawings on commission a11d has in
fact always been interested in the creation of permanent wall drawing installations. In
recent years, his work has evolved explicitly in this direction (pl. 312). But over the past
three decades, the most radical and characteristic aspect of his work has been the practical
elasticity and conceptual portability ofthe wall drawings: their capacity to appear in
different sites and scales, then disappear until the next incarnation (see, for example, pls.
214 and 217). Based on the set of instructions conceived bythe artist, each drawing is.
in a sense, a potential visual experience waiting to take place. We might think ofa LeWitt
wall drawing as a materialized instance of an initially immaterial conceptf The most
obvious comparison iS. again, to performance works based on notational systen1s,scripts.
and scores, particularly for music: any given performance of a piece exists as an enactn1ent
of an ideal that is recorded solely on paper, in musical notation, One might also consider

soc Lsw1rr:1ne111:A,r><t watt 1111Aw|NG,AN1: euntie sue:

 the affinity between LeWitt’s wall drawings and Fluxus performance works based on
minimal scores, such as those of George Brecht and Yoko Ono, yet there is a distinction.
In most cases, despite the profusion of objects produced by Fluxus artists and marketed
by George Maciunas, Fluxus scores were meant to result in actions of the most fleeting
and often private nature, rather than physical works. In contrast, LeWitt’s instructions do
provide for the material creation of visual artworks, turning entire walls into “art objectsf’
A key aspect of the structure of LeWitt`s wall drawings is the separation of the notion
of "drawing" from the presence of the artist’s own hand. Designed now to be drawn by
others, they do not rely on the artist’s particular touch or manual skill. Although LeWitt
has preferences about how his works are drawn, he accepts that his preferences»for
example, liking pencil lines to be drawn with a certain width and lightness»are simply
a manifestation of his particular taste, and that others will not necessarily agree with
him. He accepts that his instructions can be drawn a number of ways and still reflect
his original intentions.
This mode of working is more akin to architecture than visual art as we know it, and
LeWitt has acknowledged the impact that working in l.M. Pei`s office had on his thinking
as a young artist. Like the wall drawings, architecture today is essentially a notational
rather than artisanal art form. A building is conceived by one person and realized by
others-a work of formal imagination that is latent in the instructions of the architectural
plan, elevation, and section, Clearly this method of second-hand execution must have
impressed LeWitt as a young man, Yet there is little or no precedent in visual art for the
model of art production that evolved in the wall drawings.
Earthworks, which emerged at roughly the same time, form an interesting comparison
to I.eWltt’s work. Designed to escape the gallery space, defeat the notion of the object­
based art commodity, and forego the artist`s hand, they share some of LeWitt’s concerns
but employ markedly different strategies. Where LeWitt’s work adapts elastically to its
site, earthworks are emphatically interventive in their footprint. Both art forms reject the
idea of a discrete, portable art, but they replace it with wholly different formal strategies,
one static and immovable, and one endlessly transportable, recreatable, and capable of
reconfiguring to Ht the contours of new sites. Traditional notions of handwork are absent
in both art forms, but beyond a tendency to rely on teams of art-makers, there is little
further similarity in their production methods.
Dating back to the Renaissance, studio-based art practices that have relied on extensive
armies of assistants are likewise distinct in their essential nature from LeWitt`s initial
working method for the wall drawings, as they required constant oversight and approval
by the “master_“ This was also true of Warhol`s "machine" painting technique in the days
of The Factory. As Gerard Malanga has noted, regardless of who printed them, Warhol
was quite involved in editing his silkscreen paintings. Works that didn`t have the look
Warhol wanted were systematically eliminated.”
Considering LeWitt`s wall drawings within the context of contemporary art, it is
worth noting the rise of installation-based art practices over the past forty years. This
phenomenon has reached a point where today even the simple display ofa series of

Jw s waser
Ftg,5a Amt Hamilton Beret/nt/ng 5
i992 rw mom; nest am gms;
UOUVS SO0\ hiked walls floor of
wmnerea steel totem, vttnne or
hollow wal HEEUS and 2007199
vtytnq eanavtes New Art Gallery,
university ot washington seattle
related paintings is likely to he presented as .tn"mst:tl|.1ttt\n,"le.1eltngtt> .t degree nt'
semantic slippage bordering on tncoherence. 'lit the extent that .mygenernlt/.tt1t\|\
concerning it can apply, the lluurishing of tnstnllttttort work rellects .1rtists'<.lestre to
transcend the limits of tntltytdurtl tvhtects and exact increasing ctmtrol over wh.u we
might think ofus the menus of reception .md display: the physical .intl perceptual space
in which the viewer encounters the Artwork, particularly the gnllery .mtl tts light, its
sense nt' presence, its mise-en-scene, .ind its cnpncity to .thsurh the \ ie\\'er. At its most
impressive, this impetus has resultetl in works such .ts Ruhert Ir\\'in`s perceptunlly suhtle,
unphotogrnphahle scrim instttllntions ol' the tq7us .mtl \\1oos,.tntlr\nn ll.\miltt>n`s hrenth
taking, densely metnphortc works ol' the l.\te tgtlus and e.\rly tggos ttig. $41. lly 1970,
l.e\Vttt`s wall tlntwittgs hntl detnnnstrnteti .1 relntetl .nnhitinn regttrding the senle ol' the
work tn relation tothe gallery context, to .tn e\tent th.\t they might he described .ts
"inst.\|l.ntons." Hut in et>ntr.\st to ninth recent tnst.\ll.ttn»n work, they r.~m.nn distinctly
tntlehtecl .md often stupt isingly clelerentinl to their surroundings, sometimes utilizing
the .trchttecture .ts .1 tlelihemte toil hy engaging \\‘.\]ls, corners, and other structures .ts
etnnpotteitts ot their eotnpositionnl schemas lpl. 259). Their .tltinity to instttllntion works
lies inure in it mutual .tttentpt to get lweynnd the limitations nfintliyidttnl nhieets tn the
pursuit ul’ telen~_ lnkewtse, following l.e\'\'itt's wall tlrnwtngs, m.tny recent |nst.\ll.\tim\
works propose the artwork .ts .1 perltvrmance ot one sort or .\nother, whether .ts .t unique
sol trwtrw; wr turn, we wttt ntwttvwc, AND Wert; Suiter

rig as soitewitt, wal/Drawing
assisvi aiackneneii cerieetian
owenfvs Mcnsii Pmiaaeiurna
tice aiso ui sm
11, Jw s wcnef
instance, as in Hamilton’s work, or as one execution in
a series of possible reinterpretations of the governing
idea, as in LeWitt’s,
In embracing an idea»based art that eliminates the
artist`s hand as a defining component of “drawings,"
LeWitt has cast aside the notion of singularity and
effectively disallowed the possibility ot' an original.
There is for these works a “first drawn” instance or
exhibition, documented in the certificates, but this
does not constitute “the original" in the sense that
s we know it. In its place LeWitt authorizes a series of
executions which may be more, or less, close to his
idea of how the piece might look, all of which are
.s .. s A, nevertheless acknowledged as “LeWittsf’ Here again,
l the analogy to music is relevant. The first drawing of
a piece may be likened to the premiere of a musical
composition. This “debut” is notable for that reason,
but it may or may not be the defining performance
_ of the instructions that reside in the score.
As with playing a complex musical composition,
_Z -» following LeWitt’s instructions often requires degrees
of artistic skill, resources, and commitment that are
i beyond the capacities ot' a casual admirer. In fact,
" LeWitt discovered early on that large, delicate wall
_ drawings like Wall Drawing #1 (pl. 86) require such
i a consistent and steady touch that the artist himself
couldn’t draw them to his satisfaction. Recognizing that, LeWitt created certain types of
drawings specincally to be done by nonartists, including the series of drawings based on
10,000 lines (fig. 55). Using templates and simple lines requiring only a modicum of
draftsmanship and a modest investment in artists’ materials, these works can be satisfacto­
rily drawn by nonprofessionals. Yet whether intended to be executed by professional artists
or amateurs, all ofthe wall drawings short-circuit the notion ofthe original and replace it
with something radically new. They are neither traditional art objects nor unique ar!
commodities nf the type that have dominated the history of modern art from at least the
nineteenth century to the present.
In an art market that relies heavily on unique art objects that can be sold as commodi­
tics, jcttisoning precisely those attributes might seem like an act ot' professional suicide.
But the ingenuity of LeWitt`s conception ofthe wall drawing has allowed him to make his
work publicly available for exhibitions, while still reserving the right to sell the "exchange
value" of the work as a thing unto itself available for ownership and resale through the
usual art-market avenues. ln a peculiarly pure form of capitalism, the collector of a
LeWitt wall drawing purchases not a commodity, but a certificate and a set of directions
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 costly transport, and the economics of both private and institutional ownership that
generally conspire to restrict the movement and display of major artworks by leading
contemporary artists. As conceptual ideas that can be drawn, painted over, and redrawn
by others, the wall drawings reengineer the fundamental nature of art in ways that favor
a new degree of public access. At their most complex and largest, wall drawings are,
it is true, neither simple nor inexpensive to produce, yet in sum they remain far more
economical to present than most other contemporary artworks of similar scale,
I have largely ignored the visual content of LeWitt’s wall drawings up to this point.
The argument could be made that however accessible his work is in its conception,
economics, and mode of distribution, it deals with LeWitt’s private visual concerns
rather than public ones. This is certainly true, but it does not refute the main case I
wish to make in this essay, which concerns aesthetic strategies that enable and encourage
direct public access to works of art rather than the topicality of particular content, That
said, I would argue that LeWitt`s visual ideas, however much they reflect his own private
aesthetic concerns, are in many respects as publicly accessible as the art distribution
model which conveys them,
LeWitt makes art about things that interest him conceptually and visually to the point
of self»confessed obsession. But the language he speaks is not arcane. Visually direct, there
is a straightforward character to his pieces, relying as they do on simple geometric shapes
and colors, There are no obscure secrets lurking within these works, and they can be
approached on visual terms alone, with less reliance on embedded historical traditions,
iconographic codes, and semiotic maneuvers than much of contemporary art. LeWitt
has published the production details of each drawing, making the systems behind even
the most complex visual ideas open to perusal by anyone willing to track down the
relevant catalogue.
Released from the limiting presence ofthe artist’s hand and the economic tethers of
both uniqueness and material objecthood, LeWitt’s wall drawings conjure into existence
an art that inhabits a space so fundamentally public that its true boundaries have been
barely comprehended, The wall drawings’ very nature is collaborative and participatory.
They are called to life only in order to be seen, and only when someone beyond the artist
expresses a desire to see them, They are conceived to accommodate their forms to different
architectural situations and sites. When necessary, they can inhabit both public and private
spaces at the same time, can be both sold and given away. and can be drawn by LeWitt’s
team of experienced professionals, other skilled artists, or dedicated amateurs following
his instructions. In essence they are more “digital” than "analog,” in that they are based
on an art equivalent of code strings that allow them to be reproduced authentically again
and again-thereby playing sweet havoc with inherited notions of authenticity There
is no need to store them, and no need to crate them, They are eminently practical, just
as they are austere, flamboyant, restrained. exuberant, intellectually rigorous, at times
hysterically complex, and frequently gorgeous. And although he has neither made a career
as a "public artist" nor rarely been considered in that context, Sol LeWitt has created work
with a deep structure of public availability, adaptability, and generosity that is unique in
contemporary art.

s was"
Notes
i. Obviously many public an programs have
successfully sought creative ways to circumvent
this condition of restrictive perinanenee through
temporary projects. the funding of residencies.
and other ways to bend the rules: yet the com­
missioning of permanent works remains a
governing assumption for most major public
eorninissious. Arrisrs want a guarantee that
their work will rernain on rhe site as planned.
and commissioning bodies warn a guarantee
what the piece will withstand the phvsieal ravages
of time.
2. Quoted from Andrea Miller-Keller.
“Exeerpls from a Correspondence, igai-i9s3,"
in Susanna Singer, et al., Sol LWWI1 Wall
Drawings less-rosa ranrsrerdarni siedeliik
Museum, \984)v p. zl.
3. lhid., p. aa.
4. lbid_
se The seniiinerns expressed in this paragraph
reflect LeWin`s comments in a telephone con­
versarion with the author on ai Iune logo.
However, it should be noted that in her essay
in this volume Brenda Richardson olTers another
reading ofrhis interview in regard lu Lewnes
original intent ln creating the wall drawings;
namely, that his views on how, when, and by
whom drawings ean be leguirnarelv drawn
have shifted over the past decade and a half, to
a point where Lewin rodav seeks to exercise
a greater degree of artistic control than he
formerly felt was necessary or irnplieir in the
nature of the work, clearly. he is rnore parneular
now ahoui how and when his drawings are ere
cuted than he was in the statements quoted in
rosa. hui he has never retracted the permission
granted at that time, leaving the current situa­
tion ambiguous. However, rfa wall drawing
were to be executed without LeWm's involve­
rnenr by surneone today. ir might or might not
still be "OK," but it would delinltely not repre­
sent a situation the artist now eneuuragei,
5. Lewin, ai lune l999.
7. ln this regard, n is tempting ro compare
Lewnrs pairing of conceptual idea and irs exe~
cution as a wall drawing to the Platonic notion
of an ideal form that casts a shadow in the
rnaierial world, as outlined in Plato`s allegory
sol Lzwlrr: nr: mea, me wait uwswiwc.
ofthe cave. The comparison is perhaps onlv
partially appmpnale, but il does underscore the
exleni io which leWllt intended his ideas in
have an existence distinct from their redllzarlonv
and in fnet, tu be capable nf existing as art wnh­
out ever taking on "real" form ln thc wurld. As
indicated in his insistence in his "Sentences on
caneeprual Arr" lioaolrldeas ean be works of
art" lsenrenee noi. ln other words, rhe idea for
a given wall drawing and the directions rhai
embody ii are nor merely functional means ro
an end, they are ln a sense as much "art" as the
drawing rhar, perhaps rernporarilv, ernhodies
the underlying ideal on the wall.
8. Marco Lil/ingstone,"Dc| it Yourself: Notes
on Warhols Techniques," ln Andy Wnrlml»A
Rervospeflive, ed, Kynasron lvleshine (New vorlrs
The Museum of Modern Art, New York, l9249|,
p, ea,
o. Miller-l<eller,“£reerpu from a
Correspondence," p, aa,
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 LEW|TT'S AUTOEIOGRAPHYI INVENTORY OF THE PRESENT

Adam D. Weinberg How do we know who we are? Are we defined by where we were born? The friends we
chose? The career we pursue? How does one write the story of one’s life? Does one
begin with family history? From the first memory? Is there any point to searching for
one’s origins? Or, is the point of origin the present? ln effect, is who one is, what one has
become? If we dispassionately scrutinize the facts of our present, are we likely to know
as much about ourselves as we would if we studied our past? Such philosophical questions
seem grandiose and solipsistic in regard to Sol LeWitt`s Autobiography. However, issues
of personal identity naturally arise when faced with an autobiography, and LeWitt
questions the very definition of autobiography itself
LeWitt has said that he considered calling Aurubiogruphy "Self-Portrait." However, the
idea ofa self-portrait seemed too narcissistic, too definitive, and too direct for LeWitt.
A self-portrait, even one made up of hundreds of images, suggests a monolithic, singular
quality that is uncharacteristic of LeWitt’s work. The viewer ofa typical self-portrait,
confronted by the image ofthe artist, is challenged to examine every detail of a picture in
the hopes of apprehending the very "soul of the artist." We ask ourselves, how does the
artist present himself? Wl1at is his pose? How does he regard himself? How do we regard
him? A self-portrait is theatrical, staged.
Typically, one thinks of an autobiography as providing a privileged view ofa life.
Often told toward the end ofa person’s life and career, an autobiography is a confessional
account, "the inside story," offering a chronicle, gloriiication, or apologia of one’s experi­
ences and endeavors. For LeWitt, however, his Autobiography is part and parcel of his
rruvre, even as it reveals parcels of his own life. For the artist, despite the title, this book
is just another work, no more and no less important than any other.
In Autobiography, LeWitt presents more than a thousand black-and-white images
in grids, generally nine to a page (pls. 349-52; figs. 57 and 59-61). The artist catalogues
virtually every corner, crevice, and item in his loft. We see an aggregate of unposed
images-the bare facts of his everyday existence, The emphasis is on the stage that is
the artist’s home and studio, There is only one out~of-focus image ofthe artist himself.
And, as if to defy identification, LeWitt’s face is hidden-we merely see the top of his
bald head. We investigate each image, but the significance of this autobiography derives
from the connection between images on a page, on a spread, and from page to page, as
much as from any individual picture, The book as a whole is replete with information
about the artist`s life, but purposely lacks the fanfare one expects from a self-portrait.
To the extent that Autobiography is a self-portrait. it is an image of multiplicity in
which the artist is hidden by, and revealed through, the abundance of things that
rig, 51 sm Lewin,
Auraamgrapny, isao. surrounded him in his living and working environment at a particular moment. As
snaeu-anafwmte pvmmgrapns
much as one might search for a specific image or images that provide a revelatory key,
mounted on navel.
Lewin Collection. each picture, be it a detail of a plumbing fixture or a marmalade jar, obliquely tells us

tot

Q
 something about the man, In Autobiography there is a democracy of images; in their
presentation, no image is more important than any other.
LeWitt`s Autobiography was published at mid-career, in 1980, when the artist was fifty­
two years old, The images, produced over several days during the previous year, were created
in his loft at 117 Hester Street in New York City, where he had lived and worked since 1960
and where he would remain until the mid-1980s. Autobiography was not produced as the
culmination of an event or at a turning point in his career’ Instead, when published, it
was one of I/eWitt’s eighteen "artist books" and one of six photography books: Stone Walls
(1975, pl. 340f43), PhutaGrids (1977, pls. 345-48), Brick Wall (1977; pl. 344), Cock Fight
Dance (1980), Sunrise and Sunset at Praianv (198o; pl. 355-58), From Monteluca to Spoleto,
December 1976 (\984),L The organizational structure of these books is relatively simple
and straightforward, the personal references are few, and each is of a fairly modest length,
These books are no less profound than Autobiography, but Autobiography is a more
complex, ambitious, and in some respects, intimate project.
LeWitt’s artist books situate themselves among dozens upon dozens of the artist’s
structures, wall drawings, drawings, and prints, For LeWitt, none of these works nor
media occupies a privileged position, Each work is part of a chain of artistic production.
The significance of each ultimately must be understood in relation to all the work that
has preceded it and will succeed it. Every work is part of a nonhierarchical whole. Thus,
contradictorily, LeWitt’s Autobiography purports to be just another work, yet its special
significance is undeniable.
An autobiography, literally the writing on one`s life, is a more appropriate form to
LeWitt than a self-portrait. Autobiography is discursive rather than iconic. The images
are modest both in terms of how they are made and how they are presented. Each two
and five-eighths inch-square image seems to have been casually taken. They appear to be
humble snapshots. Many are out of focus, off kilter, over- or under-exposed, or loosely
framed in the camera. They seem to be uninflected by the “personality” of the artist.
Produced at a time when fine art photography was in the ascendancy, they counter
fetishistic notions of formal invention and print quality, and instead assert the workaday
qualities of a medium used to record factual information for its own sake. The square
format-of the individual images and the pages of gridded imagesfis the two-dimen­
sional version of LeWitt’s structure of choice, the cube, which he calls the "least emotive"
of any three-dimensional form and “the best form to use as a basic unit for any more
elaborate function, the grammatical device from which the work may proceed." Like
words or phrases that derive their significance once they are linked in the reader`s mind,
the images in Autobiography are made to be “read.” Yet, unlike the elements of written
language, which is linear, the meaning of the images is variable, for the square grids can
be "read" horizontally, vertically, diagonally, or experienced as a single visual whole.
Although the images are presented in a nonhierarchical, seemingly neutral manner~
manifested by the repetitions of the grid structure, the typological organization of the
content, the unnumbered pages, and the unpretentiousness of the pictures themselves­
they are not completely devoid of emotion. The rawness of the images works to under­

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irq so ssrrs-war while the ruhher cement alludes to the glue that affixed the images to the pages ofthe
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thetances,
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lots of containers, and foodstuffs.
The second chapter consists of four spreads offering a foray into the "more intimate"
realm of the arttst's wardrobe and details of fabrics that presumably are in his sleeping
Lone. ln this section, as in preceding and succeeding ones, we are made aware of how
things are ordered and of the processes that led to their disposition. Thus, clothing is
hung, folded, stacked, and crumpled-a reminder that, as l_eWitt wrote,"The concept
ot' a work may involve the matter ofthe piece or the process in which it is made.” Here
also the artist calls our attention to the patterns, materials, and construction uf fabrics,
with .r particular emphasis on geometric patterns.
The third chapter provides a short interlude. It consists ofa single spread of eighteen
plant details tollowed hy six images of plants, peacock leathers, and assorted keepsakes
arranged on shelves (fig. 59). This section, in effect, clears our visual palette, shifting our
attention ever so hrretlv from tlte manmade to the natural. lt serves to distance the viewer
lretore delving into the heart (and mind) of the hook, two extensive chapters-the first,
twenty-tour pages long, the other forty-seven pages-that encompass such materials as
Le\\.'itt`slil1 t l I " ’ ' i ` `
rtry, ns ntustc collection, his exhaustive assemblage of ephemera, tchotchkes,
and his own drawings, notes, and structures.

sam n wwuefq
 The overall progression of the images suggests several narrative structures, First,
though it is risky to attach a distinct narrative to Autalriagmphy, the book, while at times
digressive, intimates a diurnal rhythm, This is particularly evident at the opening and the
ending, On the second spread of the hook, all the images ofwindows, with one exception,
were taken in daylight, while among the final spreads, LeWitt includes three pages oflight
Fixtures, most switched on, immediately followed by a spread largely devoted to clocks,
further suggesting the passage of time. There are other sections, such as the kitchen
sequence, into which one can read this rhythm as well. It is a mark ofthe ar\ist`s ingenious­
ness that the book is delightfully ambiguous, hovering between a deterministic and a
totally open-ended reading. Another narrative involves a movement from the outer to
the inner and from the less personal to the more personal. While the first two chapters
tend to refer to the physical space and such bodily activities as cooking, bathing, and
dressing, and the third chapter serves as an intermezzo, the fourth and fifth chapters,
or roughly the last two thirds of Aurobiagmphy, are largely devoted to the life of the
mind, the core of LeWitt`s endeavor: what he reads, listens to, sees, and thinks about.
The images build in intensity, creating a crescendo.
On the opening page of chapter four, LeWitt signals that we are entering another
phase ofAurobiography. For the first time we see his work itself-a LeWitt»constructed
table on which rests a maquette of an incomplete open cube. We also get a preview of
his library and recording collection, and, as if to indicate that the making of the works
is inseparable from the ideas that spawn them, two overall views-one of a workbench
and the other ofa flat Hle, (Both subjects were examined previously in close-up, but
were not seen from a distance.) This page of images serves as an overture to the section.
In the next spread, devoted to a compendium of seating-chairs, stools, couches-the
artist seems, tongue in cheek, to be offering us a seat from which to examine his library,
On turning the page from the chairs to the books, we might initially be struck by the
physical presence and arrangement of the volumes themselves, only to be quickly seduced
into reading the titles and authors (pl. 351). For the Hrst time words take over as carriers
of meaning equal to the images. This section is one ofthe most fascinating and perhaps
informative about LeWitt`s interests and work. In examining the books, which are system­
atically organized by topic, we see volumes devoted to film, architecture, history, drama,
sports, literature, mysteries, cooking, sociology, and others-all subjects of interest to
LeWitl. And everything that is of interest to the artist potentially has a bearing on his
work. Every depicted volume is treated with equanimity. Although one can single out
almost any book and offer an exegesis on its relationship to LeWitt, from volumes on
Piet Mondrian and lean-Luc Godard to a book on the history of his native Hartford,
Connecticut, the totality of these volumes is as important as any individual book-a
point made apparent by the last page of the three spreads devoted to his library, in which
he includes five long views ofthe bookcase and two out-of-focus images emphasizing
the building-block forms of the books. Even in the next spread, consisting of images
of LeWitt’s notebooks and catalogues of his own work, we get the message that his work
is entirely ofa piece, We might imagine that even Autobiography, which seems to bring
so much of his life and work together, would be just another book on the sheltf

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Aiitootmy/amy iaao
of his hte, organized largely by categories. Among the objects are magazines, book covers,
aim snaewmte pnntaqmane
wotittrea on uaucf calendars, address books, floor plans, snapshots, certificates, letters, stamps, notations,
tawtct cutie-cttw
record covers, audio cassettes, maps, newspaper clippings, opening announcements.
postcards, lapanese prints, engravings, playing cards, sketches, drawings, maquettes of
sculptures, photographs of his own sculpture, family photographs-and so on and so
forth. In this portion, LeWitt literally makes manifest what he wrote in his 1967 "Paragraphs
on Conceptual Art," that "scribbles, sketches, drawings, failed works, models, studies,
thoughts, conversations are of interest.” `
As one peruses these images, one is overwhelmed by the sheer number of things, by
the tact that each item has some greater or lesser significance to the artist and that each
one has a reason lor being in his possession. One is also struck, by virtue of this systematic
look at the things ol his lite, by l.e\.Vitt's interest in systems upon systems-overlapping
and interlocking. Images allude to recording systems. writing systems, postal systems,
political systems, information systems, religious systems, typographical systems, organiza­
tional systems, publishing systems, gallery systems, school systems, marketing systems,
musical and dance systems, cultural systems. design systems, and weather systems, not
to mention the early chapters that allude to construction, architectural, plumbing, and
electrical systems. However, despite a cognizance of these systems and the seeming
order imposed, the nnages are anything but impersonal. There are humorous images
ranging from a flipbook entitled The ups and downs oflleing mi Artist, to a note that asks

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Aaron/nqrapny vaso
stack-ann wmre pmrwaprrs Rauschenberg and Hannah \\e|nier, to a yawning cal and a eartntrn of the art|~t Lvnda
moantea on naner Benglis nude aping the pose ol the Statue nl Liberty (lig. trol. 'I here are perwnal relbrence>
Lewin cniueerron
in both writing and pictures tn friends and lellnw ,\rt|>t>, aninng them E\ a He>>c, Larry
Poons, Robert Mangold,Sylv1a Mangold, lnlin Baldessari, Nancv Holt, lack Twnrknv, In
Baer, Richard Lung, Robert Smithson, Gene lleery, Hanne l)arho\‘en; arti>\ l1>rel>ear> such
as Fran/ Kline and Barnett Ncwn1an;..\nt.l performing .xrtnta muh aa Laurie Anderson and
Iucinda (Ihilds. There are sensual and erotic images ranging truni .\ ptmtcarcl nt a paint­
ing nf an ecstatic Leda mul 1lu’S\\'a11,twt\ nudea frtnn hi> nwn work, _\Iin'1vr|iige ll, 1964,
und a campy picture ofa nude stiggestivelysmt>k|ngt\\'itl1 the iintanari iriimeren lie liz
m1tivUslfig,6|l.Ii1 looking at \he>eini.1ge»,tme al~ol1ect\ine> engni/ant uf the pntential
liar categuri/ing and s)'slen\ativi|\g these sulviec\x~liun\nr, friendships, and ernt\ci>|n,
For all the order implied hy thew >y>te|i1>,t»i1e realinm that ultiniatcly they are cun»truct~,
nftemime> idiosyncratic antl perwnal, in l ewin muted early an, "conceptual ar\ia\> are
niy>ne» rather than r.\nt»naIi»i»_ They leap ltr eniieluainm that logic eanntwt rcacl1,""
ln the tlnal chapter, with picture> like the .rtlrrerrieiititmetl Leila ami rlie mini, a
aequcnce nf lntlian drawings depicting a cuuple cnpulating, and a >ign lim \\ \\ nt lt
|'l1 \\| , one ~en>e> a feeling nt ct\|i>\||n|natmn. l)ep|ctit\i1>t»f l,e\\'itt'> earlieat tigure draw­
ings l'mn\ the late |9505 and early 19605. and nneigus ol' antl related tn h|> parenta, suggest
a cyclical rhythm, a return tn the urigim nfhirth, lamily, and work (pls. 550 and 352),
lfone thinks nl /liimlimgrizpliy and l.eWitt'> work as a whole in epislenttrlogigil \crn1>

tewrrrx .ii/re/Bi<>e~.w~v mvravouv or we vwesem

 as a means to get closer to “the source,” to attain a superior fnrm of knowledge or, in
heroic terms-a point made by the image of the newspaper headline “Christ is Coming"
tacked above a reproduction of one of Picasso’s Tauromachia prints-one is surely on
a fool`s errand. For there is no source per se. In Autubiogruphy, DeWitt presents his life,
the life of the artist as the life of a particular person. in a particular culture, at a particu.lar
time and place. Nevertheless, Autuhiugmphy is unique in his ceuvre. For l/eWitt, whose
drawings, wall drawings, and structures are seemingly so pure and pared down,
Autubiogmphy is an unparalleled work. While it takes its place as one work among
“equals," it is singular in its demonstration that LeWitt’s abstract, geometric forms are
inextricable from the experience of his life and culture.

Notes

t The year aftet the book was ptthhahed,
Lewttt ata, however mate te Spoleto, lraly, with
hte ftttttte wife, cami Atttitoeettt she ts pictured
tt. the latter part ofthe beak.
2. Shortly after ,ihtahtagtaphy Lewttt
pteatteea cttw" vthttt, whteh uses a format of
thtttyetwtt tmagea th a spread to thvetttety the
space and obyecrs ar titawh Point Prem
3. Sol LeWitt, “The Cube" (1956), quoted fmm
Adachiara Zevi, ed., Sol LKVHU. Crxriml Texts
ltlome: Libn de AEIUO, 1995). p. 71,
4. sal Lewitt, setttehee 1:17, "setttetteea eh
Conceptual Art" (when. quoted from shi Lemn
cttttear rem. P. he rteptthtea tt. the Appettaht
in this eatalhgttet
s, sal Lewatt, "Paragraphs eh catteeptttai An"
(i9e7)» quoted from Sal llvwn Crmcal Texts, p. so
(reprinted in the Appendix in this eatalhgttex
6. l£Witt, Sentence M, “Sentences on
ctttteeptttai An." P. ss,

.tram D wemtaetq
 PLATES

I EARLY DRAWINGS

II EARLY WORKS

III BLACK S WHITE OPEN CUBE5,1965-|969

IV SERIAL STRUCTURES

V, LINES

VI LARGE CUBES

VII ARCS, CIRCLES, GRIDS

VIII ARCS S1 LINES

IX LOCATION

X GEOMETRIC FORMS

XI STARS

XII BANDS

XIII CONTINUOUS FORMS

XIV. GEOMETRIC FIGURES

XV OPEN CUEES

XVI STVROFOAM

XVII CONCRETE BLOCK

XVIII CURVES & LOOPS

XIX PHOTO WORKS

XX LARGE GOUACHES

XXI DBJECTS E1 POSTERS

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A square, each side of which is equal to a tenth of the total Ienqth of three
lines, the first of which is drawn from a point halfway between the center of
the wall and a point halfway between the center of the wall and the upper left
corner and the midpoint of the left side to a point halfway between the center
of the wall and a point halfway between the center of the wall and the midpoint
of the bottom side; the second line is drawn from a point halfway between the
start of the first line and a point halfway between the center of the wall and
the upper right corner and the midpoint of the top side to the start of the first
line; the third line is drawn from a point halfway between a point equidistant
from the end of the first line, the start of the second line and a point halfway
between a point halfway between the center of the wall and the midpoint of the
riqht side and a point halfway between the center of the wall and the upper
riqht corner and the midpoint of the top side to the point where the first line
starts and the second line ends; the riqht side is located on the axis of, and
equidistant from two points, the first of which is located at a point halfway
between a point halfway between the center of the wall and the midpoint of the
right side and the lower right corner to a point halfway between a point
halfway between the midpoint of the top side and the upper right corner and
the start of the third line.

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 SOL LEWITT M UNIIULN CENTEWS MOSTLY MUZART FESTIVAL

WALLDRAWIHGS
STEDELIJK MUSEUM
AMSTERDAM
2.5 T/M 25.4. 1984
STBUGTUBES
\NI
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VAN ABBEMU UM
EIHDHOVEN
5.3 T/M 15.4. 1984
APPENDIX: THE WRITINGS OF SOL LEWITT

,F,-,_
 PARAGRAPHS on couczrrukl. ART
The editor has written me that he is in favor of avoidinq "the
notion that the artlst is a kind oi ape that has to be explained
by the Civililed critic." This should be good news to both artists
and apes. With trlls assurance I hope to tustily his confidence. To
continue a baseball metaotlor (one artist wanted to hit the Dall out
of the park, another to Stay loose at the Dlate and hit the ball
where it was pitched), I am grateful for the opportunity to strike
out for myself.
lwill refer to the kind ol art in which I am involved as Conceptual art.
In conceptual art the idea ur Concept ls the most Important aspect
ol the work.' When an artist uses a conceptual forrn of art, It
means that all of the planning and decisions are made beforehand
and the execution is a perfunctory affair. The idea becomes a
machine that makes the art. This kind of art is not theoretical or
illustrative of theories: it is intuitive, it is Involved with all types of
mental processes and it is purposeloss. It is usually lree from the
dependence on the Sklll of the artist as a Craftsman. lt is the objec'
tive ofthe artist who is concerned with conceptual art tn make his
work mentally interestinq to the spectélton arid therefore usually
he would want it to become emotionally dry. There is no reason to
suppose however, that the conceptual artist is out to oore the
viewen It ls only the expectation of an emotlonal kick, to which one
conditioned to expressiorlist art ls accustomed, that would deter
the viewer from perceiving this art.
~in other lorms dl art the concept may be changed in the process ol execution.
Conceptual art is not necessarily logical. The logic of a piece or
series of pieces is a device that is used at times only to be ruined.
Logic may be used to camouflage the real intent of the artist, to
lull the viewer into the belief that he understands the work, or to
infer a paradoxical situation (such as logic vs. llloqicl-' The Ideas
need not be complex. Most ideas that are successful are ludicrously
simple. Successful ideas generally have the alwearance of simplicity
sol Lewin, ca. 1910.
because they seem inevitable. In terms of Idea the artist ls free
even to surprlse hlrnsell. ideas are discovered by lntultlon.
‘ Some ideas are logical in conception and illogical perceptually
What the work of art looks like isn‘t too important. It has to look
like something if it has physical form. No matter what form it may
finally have it must oegrn with an idea. lt is the process of concepc
tion and realization with which the artist is concerned. once given
physical reality bythe artist the work is open to the perception of
all, including the artist. tl use the word "perception" to mean the
apprehension of the sense data, the objective understanding of
the idea and simultaneously a supyective interpretation ol both.)
The work of art can only be perceived after It is completed.
Art that is meant for the sensation ofthe eye primarily would be
called perceptual rather than conceptual. This would include most
optical, kinetic, light, and color art.
Since the functions of conception and perception are contradictory
lone prec, the other postcfact) the artist would mitigate his idea hy
applying suoyochvo yudgment to it. ll the artist wishes to explore
his idea thoroughly, then arortrary or chance decisions would pe
kept to a minlmurn, while caprice, taste and other whimsies would
pe eliminated from the making ofthe art, The work does not necc
essarily have to he rejected if it does not look well, Sometimes
what is initially thought to be awkward will eventually be visually
pleasing.
To work with a plan that rs pre-set is one way of avoiding
suorectivity. it also ooviates the necessity of designing each work
in turn. The plan would design the work. some plans would require
millions of variations, and some a limited numoer, out ootn are
unite. Other plans imply infinity. ln each case howevec the artist
would Select the basic lol‘lTl and rules that would qoverh the Solutlon
 of the problem. Alter that the lewer decisions made in the course
of completing the work, the betten This eliminates the arbitrary,
the capricious, and the subiective as much as possible. That ls the
reason for using thrs method.
When an artist uses a multiple modular method he usually chooses
a simple and readily available form. The form itself is of very lrmiled
importance; it becomes the grammar for the total work. ln fact it
is best that the basic unit be deliberately uninteresting so that it
may more easily become an intrinsic part of the entire work. Using
complex basic forms only disrupts the unity ol the whole, Using a
simple form repeatedly narrows the field ofthe work and concen­
trates the intensity to the arrangement of the form. This arrange­
ment becomes the end whrle the form becomes the means.
Conceptual art doesnt really have much to do with mathematics,
philosophy or any other mental discipline. The mathematics used
by most artists is simple arithmetic or simple number systems.
The philosophy ofthe work is implicit inthe work and it is not an
illustration of any system of philosophy.
lt doesn't really matter if the viewer understands the concepts of
the artist by seeing the art. Once out of his hand the artist has no
control over the way a viewer will perceive the work. Dilferent people
will understand the same thing in a different way.
Recently there has been much written about minimal art, but I
have not discovered anyone who admits to d0lng this kind of thing,
There are other art forms around called primary structures, reduc­
tive, relective, cool, and rninl-art. No artlst I know will Own upto
any of these either. Therefore I conclude that it is part ol a secret
language that art critics use when communicating with each other
through the medium of art magazines, Mini-art is best because
it reminds one of mini-skirts and long-legged girls. It must refer
to very small works of art. This is a very good idea. Perhaps “mini­
art" shows could be sent around the country ln matchboxes. Or
maybe the mini-artist is a very small person, say under five feet
tall. lf so, much good work will be found in the primary schools
(primary school primary structures).
sul Lewin
lf the artist carries through his idea and makes it into visible form,
then all the steps in the process are of importance. The idea itself,
even if not made visual is as much a work of art as any finished
product. All intervening steps - scribbles, sketches, drawings, failed
work, models, studies, thoughts, conversations-are of interest.
Those that show the thought process of the artist are sometimes
more interesting than the final product.
Determining what size a piece should be is difficult, If an idea
requires three dimensions then it would seem any size would dd.
The question would be what size is best. If the thing were made
gigantic then the size alone would be impressive and the idea
may be lost entirely, Again, if it is too small, it may become incon­
sequential. The height of the viewer may have some bearing on
the work and also the size of the space into which it will be placed.
The artist may wish to place obiects higher than the eye level of
the viewen or lowen | mink the piece must ne large enough to give
the viewer whatever information he needs to understand the work
and placed in such a way that will facilitate this understanding.
(Unless the idea is of impediment and requires difficulty of vision
or access.)
Space can be thought of as the cubic area occupied by a three­
dimensional volume. Any volume would occupy space. It is air and
cannot be seen. It is the interval between things that can be
measured. The intervals and measurements can be important to a
work of art. If certain distances are important they will be made
obvious in the piece. If space is relatively unimportant it can be
regularlzed and made equal (things placed equal distances apart).
to mitigate any interest in interval. Regular space might also
become a metric time element, a kind of regular beat or pulse.
When the interval is kept regular whatever is irregular gains more
importance.
Architecture and three-dimensional art are of completely opposite
natures. The former is concerned with making an area with a spe­
cific function. Architecture, whether it is a work of art or not, must
be utilitarian or else fail completely. Art is not utilitarian. When
three dimensional art starts to take on some of the characteristics
of architecture such as forming utilitarian areas it weakens its func­
tion as art. When the viewer is dwarfed by the large size ofa piece
this domination emphasizes the physical and emotive power of the
form at the expense of losing the idea of the piece.
New materials are one oi the great atflictions oi contemporary art.
some artists confuse new materials with new ideas. There ls nothf
ing worse than seeing art that wallows in gaudy baubles. By and
large most artists who are attracted to these materials are the
ones who lack the stringency of mind that would enable them to
use the materials well. It takes a good artist to use new materials
and make them into a work ol art. The danger ls, I think, in making
the phvsicality ol the materials so important that it becomes the
idea ofthe work (another kind of expressionlsm).
rhreealmensional art or any krno is s physical lact. This physicall­
ty is its most obvious and expressive content. Conceptual art
is made to engage the mind or the viewer rather than hls eye or
emotions. The Dnysicallty of a threerdirnensional object then
becomes a contradiction to its non-emotive intent. Color, surface,
texture, and shape only emohasile the physical aspects of the
work. Anything that calls attention to and Interests the viewer ln
this physicaltty is a deterrent to our understanding or the idea and
is used as an expressive device. The conceptual artist would want
to ameliorate this emphasis orl rnateriality as much as possible or
to use lt In a paradoxical way. (To convert it into an idea.) This kind
or art then, should be stated with the most economy or means. Any
idea that is better stated in two dimensions should not be in three
SENTENCES ON CONCEPTUAL ART
1. Conceptual Artists are rnystlcs rather than ratlonalrsts
rney leap to conclusions that logic cannot reach.
2. Rational judgments repeat rational iudgments,
3. illogical judgments lead to new experience.
4, Formal Art is essentially rational.
5, Irrational thoughts should he followed absolutely and logically.
dimensions. Ideas may also be stated with numbers, photographs,
or words or any way the artist chooses, the form being unimportant.
These paragraphs are not intended as categorical imperatives hut
the ideas stated are as Close as possible to my thinking at this
tlme.‘ These ideas are the result or my work as an artist and are
sublect to change as my experience changes. I have tried to state
them with as much clarity as possible. If the statements l make are
unclear rt may mean the thrnkrno rs unclear. Even while wrrtrnq
these ideas there seemed to be obvious inconsistencies (which l
have tried to correct, out others will propaply slip byl. l do not
advocate a Conceptual lorrn oi art for all artists. I have found that
it has worked well for me while other ways have not. It ls one
way ol making art; other ways suit other artists. Nor do l think all
conceptual art ments the viewers attention Conceptual art rs
good only when the roes ls good.
-l dislike the term “work ol art“ lsecauso l am not rn lavor ol work and the terrn
sounds pretentious aut l non t know what olner terrn to use
Reprinted from Artforum, 5 no. 10 (June l967li 79-83.
6. If the artist changes his mind midway through the execution
or the piece he compromises the result and repeats past results,
7. The artlst‘s will is secondary to the process he initiates
from idea to completion. His wilfulness may only he ego.
S. When words such as Dalntlnq and sculpture are Used. they
connote a whole tradition and imply a consequent acceptance
of this tradition, thus Dlaclnq Iirnltatlons onthe artlst who would
be reluctant to make art that goes beyond the limitations.
knvskorxz rks wnrrwcs or sot Lzwlrv
 9. The concept and idea are dltlerent. The former implies
a general direction while the latter are the components.
ideas implement the concept.
10. ldeas alone can be works ol art; they are in a chain
ol development that may eventually find some lorm.
All ideas need nut be made Dhvsical.
11. Ideas do not necessarily proceed in logical order. They may
set one oll in unexpected directions but an idea must necessarily
be completed in the m|nd before the next one is lormed.
12. For each work of art that becomes physical there are many
variations that do not.
13. A work of art may be understood as a conductor from the
art|st's m|nd to the viewers. But it may never reach the viewen
or It may never leave the artlSt'5 rnlnd.
14. rne words df one artist td another may induce an ideas chain,
rl they snare ine same concept,
15. Since no form is intrinsically Superior to another, the artist
may use any form, from an expression of words, (written or
spoken) to physical reality, equally.
16, ir words are used, and iney proceed from ideas about art.
then they are art and not literature, numbers are not mathematics,
17. All ideas are art il they are concerned with art and fall within
the conventions of art.
le. one usually understands ure art dv the past by applying
the conventions ot the present thus misunderstanding the art
of the Dast.
19. The conventions ol art are altered by works ol art.
20. Successful art changes our understanding of the conventions
by altering our perceptions.
21. Perception ol ideas leads to new ideas.
sal Lewin
22. The artist cannot imagine his art, and cannot perceive it
until it is comvlete.
23. The artist may mis-perceive (understand it differently than
the artist) a work of art but still be set off in his own chain of
thought lay that misconstrual,
24. Perception is subjective.
25. The artist may not necessarily understand his own art.
His perception is neither better nor worse than that of others,
25, Ah artist may perceive the art of others better than his own
27. The concept of a work ol art may involve the matter ofthe
piece or the process in which it is made.
28. Once the idea ofthe piece is established in the artists mind
and the final form is decided. the process is carried out blindly.
There are many side-eflects that the artist cannot imagine,
These may be used as ideas lor new works.
29. The process is mechanical and should not be tampered with.
It should run its course.
30. There are many elements involved in a work of art.
The most important are the most obvious.
31. ll an artist uses the same lorm in a group of works, and
changes the material. one would assume the artist's concept
involved the material.
32. Banal ideas cannot be rescued by beautiful execution.
33. It is difficult to bungle a good idea.
34. When an artist learns his cralt too well he makes slick art.
35. These sentences comment on art, but are not art_
Reprinted from Art~Lanquage 1, no. 1 (May 1969): ll-13.
SERIAL PROJECT NO. I
Serial compositions are multipart pieces with regulated chanqes.
The differences between the parts are the subject of the cumposl­
tion. ll some parts remain constant lt ls to punctuate the changes.
The entire work would contain subdivisions which Could oe auton‘
omous but which Eomprlse the whole. The autonomous parts are
units, rows, sets or any loqitjal division that would he read as a
Covrlolete thouqht. The serles would he read by the vlewer ln a linear
ornarrativervlannerllZ345;ABBCCC;l23,312,Z31,l32,
213.3 2 1) even though ln its llnal lorm many oi these sets would
be operatlng simultaneously, making comprehension dlnlcult, The
aim 0| the artist would not be to lnstruct the vlewer but to give hlm
Information. Whether the vlewer understands this inlormation ls
incidental to the artist; he cannot foresee the understandlno of all
his viewers. He would follow his predetermined premise to its con'
cluslon avoiding sublectivity. Chance, taste, or unconsciously remem­
bered lorms would play no part in the outcome. The serial artist
does not attempt to produce a beautiful or mysterious nhlect but
funetlans merely as a clerk Cataloqtnq the results ot his premise.
sul
The premise qovernlnq tnis series ls: to place one lorm wlthln
another and lnclude all major varlatlons ln two and three dlmenr
sions. This ls to be done ln the most succlnct manneh using the
fewest measurements, It would be a flrllte series uslnq the square
and cube as its syntax. A more complex lorm would be too lnter­
estinq In ltsell and obstruct the meanlnq ol the whole. There ls no
need to lnvent new forms. The square and cube are eiliclent and
symmetrical In order to free a square wlthlrl a Iarqer square, the
larger square ls ulvluea into mne equal parts. The center square
would be equally alstant lram me outer square arm exactly cen'
tered. A slnqle measurement ls used as the basis lor the serles.
There rs a large verslarl and a small verslan. ln the larger, ma basic
measure is 28" (A 28" tube can be made ln one Dlece to llt through
the Smallest doorf3D"). The outer measure was formed by multl'
plying za" ny 3 and suotractlno the wrath ol the material <1 Val'­
the pieces were constructed oi l ‘/z" square alumlnurn tublnq) 25"
X 3 = B4 - (1 l/2 + 'l ‘/2) = Bl". The two measurements for the large
set are 28" and Bl", All ul the pleces in the series Contain these
measurements (The tlrst pleces are 1 '/1" high because that is the
height ofthe metal). The two measurements in the smaller set are
I3 3/B and 4 I/B",
M..
uvrunlxz wr wnlvluas nr sat Lzwlrr
 The set contains mne pieces. They are all ol the variations within The sets of nine are placed in Your groups. Each group comprises

the scope oi the lirst premise. The lirst variation is a square within variations on open or closed forms,
a square. The other variations lollow: a cube within a square, a
square within a cube, an outer form raised to the height of the closed inside eve" Oulilde
inner cube, the inner cube raised to the height ol the outen larger closed outside f|°5f° °Uf5“1E
cube, a cube within a cube and all cross-matching of these lorms. closed inside
open inside
The first set contains mne pieces. These pieces are laid out on a noen outside open outsioe

grid. The grid equalizes the spacing and makes all ol the pieces
and spaces between ol equal importance. The individual pieces are
arranged in three rows of three iorms each. In each row there are In cases in which the same plane is occupied bv both the inside
three ditierenl parts and three parts that are the same. The inner and outside forms, the inside plane takes precedence, This is done
forms oi one row ol three are read in sequence, as are the outer so that there is more information given the viewec lf it were the
forms. The possible permutations ot these rows are: 1 2 3, 4 5 6, obverse more forms would he invisible, impeding the viewers
7B9,l47,258,369,l5'9.357. understanding oi the whole set. When the larger form is closed and
the too ol the smaller form is not on the same plane as the larger­
but Iowerfthe smaller form is placed inside, It the viewer cannot
The measurements lor the large set are: see the interior lorm he may believe it is there or not but he knows
which form he believes is there or not there. The evidence given
him bythe other pieces in the set. and by reference to other sets
i mine 2a“ 1 Za" 2 inside 25" 1 2a“ 1 za" 3 inside 2s“ 1 2a“ 1 av*
Ooisioe au 1 av* outside av* 1 av* outside an 1 ev*
will inlorm him as to what should he there. The sets are grouped in
the most symmetrical way possible. Each set mirrors the others,
4 inside za* 1 2a“ 5 inside za" 1 25" 1 25" 6 inside za“ 1 2a“ 1 si"
with the higher pieces concentrated in the center, The grouping of
Outside ei" 1 si" 1 ze" outside av* 1 av* 1 2a“ Outside av* 1 av* 1 23"
sets allows additional sets to become obvious such as: A9, E9, (29,
1 inside 25“ 1 2a“ B. lnsine 23" 1 25" 1 25" 9 Inside ze" 1 25" 1 an
D9, or AZSBBZEB,
Outside si" 1 ai" 1 ai" Uulside av* 1 ai" 1 ai" Outside ai" 1 ei" 1 ai"

D C
for the small set sonstliuie 13 ’/1" lm ai" and 4 5/5" for 2a“ Reprinted lrom Aspen Magazine, section 17, nos. 5~6,1966,r\.p.

`123321
789 456654
456 789987
7B9987
123 456654
123321
sol Lewin
AB
WALL DRAWINGS
l wanted to do a work of art that was as two-dimensional
as possible.
It seems more natural to work directly on walls than to make
a construction, to work on that, and then out the construction
on the wall.
The physical properties or the wall: height, length, color, material,
architectural conditions and intrusions, are a necessary part ol
the wall drawings.
Different kinds 0| walls make for different kinds of drawings.
lmperfectlons on the wall surlace are occasionally apparent alter
the drawinq iS comoleted, These should he considered a part of
the wall drawing,
The best surface to draw on is plasten the worst is brick,
hut both have been used.
Most walls have holes. cracks. Dumos. qrease marks. are not
level or Square, and have Various architectural ecrjentrlrjltles.
The handicap in using walls is tnat the artist is at tne mercy
of the architect.
The drawing is done rather lightly, using nard graphite so
that the lines become, BS much as possible, a part of the wall
surface, visually.
Either the entire wall or a portion Is used, but the dimensions
ofthe wall and its surface have a Conslderabie effect on
the outcome.
When large walls are used the viewer would see the drawings
in sections sequentially, and not the wall as a whole.
Dlllerent draftsmen produce lines darker or lighter and closer
or fartner apart. As long as they are consistent there is no
prelerence.
Various combinations of olack lines produce dillerent tonalitlesi
combinations of colored lines produce dlllerent colors.
The lour basic ltmds of straight lines used are vertical, horizontal
45° diagonal tell to rignt, and 45° diagonal right to left,
When color drawings are done, a flat white wall ls preferable.
The colors are yellow, red, blue, and black, tne colors used
in printing.
When a drawing is done uslnq Only hiack |lneS, the Same tonallty
should he maintained throughout the plane ln order t0 maintain
the integrity ol the watl surface.
An ink drawing on paper accompanies tne wall drawing.
It is rendered ny the artist while the wall drawing is rendered
oy assistants.
rne ink drawing is a plan for out not a reproduction ol the
wall drawing; the wall drawing is not a reproduction ol the
ink drawing. Each is equally important.
It I5 posslhie to think ofthe Sides of Simple three'dlrTlenSiOna|
objects as walls and draw on them.
rne wall drawing is a permanent installation, until destroyed.
Once something is done, it cannot be undone.
Reprinted from SOILEWIII (New York: The Museum ol
Modern Art, 1978), p. 169.
nennolk: wt wnlvlnns or sat ttwlrv
 DOING WALL DRAWINGS
The artist conceives and plans the wall drawing. lt is realized hy
drattsmen, (the artist can act as his own draltsman). the plan
(written, spoken or a drawing) is interpreted bythe draftsman.
There are decisions which the draftsman makes, within the plan.
as part ol the plan. Each individual being unique, given the
same instructions would carry them out dillerently, He would
understand them dillerently.
The artist must allow various interpretations ol his plan.
The draftsman perceives the artist‘s plan, then reorders it to
his own experience and understanding.
The draftsman's contributions are unforeseen by the artist, even
if he, the artist, is the draltsman. Even il the same draftsman
followed the Same plan twice, there would be two different works
ol art. No one Can do the Same thing twice,
The artist and the draftsman become collaborators in making
the aft.
Each person draws a line differently and each person
understands words dilferently.
THE SQUARE AND THE CUBE
The best that can be said tor either the square or the cube is that
they are relatively uninteresting in themselves. Being basic repre'
Sentations ol two- and three>dimensional lorm, they lack the
expressive lorce of other more interesting forms and shapes. They
are standard and universally recognized, no initiation being
required of the viewer; it is immediately evident that a square is a
square and a cube, a cube. Released lrom the necessity ol being
significant in themselves, they can be better used as grammatical
1 A sol Lewin
Neither lines nor words are ideas, they are the means by which
ideas are conveyed.
The wall drawing is the artists art, as long as the plan is not
violated, It it is, then the draltsman becomes the artist and
the drawing would be his work of art, but art that is a parody
ol the Original COIICSDI.
The draltsman may make errors in following the plan without
compromising the plan. All wall drawings contain errors, they
are part ol the work,
The plan exists as an idea but needs to be put into its optimum
lorm. Ideas of wall drawings alone are contradictions of the
idea of wall drawings.
The explicit plan should accompany the finished wall drawing.
They are ol equal importance,
Reprinted from Art Now: New York 3, no. Z (June l971): n.p.
devices from which the work may proceed. The use of a square or
cube obviates the necessity of inventing other lorms and reserves
their use for invention.
Reprinted from Lucy R. Lippard et al., "Homage to the Square,"
Art in America 55. no. 4 (July-August l96`I): 54.
[LeWitt's contribution was originally untitled]
ZIGGURATS
The most common type of office building seen in midtown
Manhattan is built in the zlogurat style with multiple set-backs,
This design was to conform with the New York Zoning Code of 1916
to 1963. The original purpose ofthe Set'baCks was to allow Sunlight
into the street and free Circulation bf aili ln 1915 this was feasible,
but as the buildings became higher the regulations became Ubsulete.
Howeveli since they were in effect during the postwar building
boom. tne result is a unique group of ouildlngs that give the area a
distinctive l0Ok.
The zoning code pre-conceived the design ofthe ziggurats, just
as an idea might give any work oi art its outer boundaries and
remove arbitrary and capricious decisions. In many cases this is a
liberating rather lnan a confining form. The ziggurat buildings con­
form to the code. yet no two are alike; the slab-type buildings
which now are being built seem more unlfbrrn.
The Zoning code established a deslqrl that has much intrinsic
value. The ziggurat buildings are heavy looking, stable, inert and
eartnoound. There is noltnng graceful or lignt-weignted here as in
the slab buildings. There is also El Ioqic in the continually smaller
set-backs, which allow for intricate geometric patterns. Ey having
to conform to this rather rigid code, aestheticism was avoided, but
tne code was flexible enougn to allow great originality of design.
New materials were not necessary. The earlier brick buildings were
some of the most successful of the genre, they are particularly
opaque and homely. The slain-type buildings on the other nand,
established by the rules of taste and aesthetlclsrn, require new
materials for variety. The ziggurat buildings are most satisfying
when seen from a little distance (two or three blocks) so that the
massive deslqll ls seen. This is difficult in New York, but the Zlgguratsr
when seen from the upper floors of other buildings, are especially
impressive. The new zoning code allows slabstype oulldings, and
also stipulates tnat a certain amount of plaza space must also ne
allotted. Tnls will permit more flexibility in site planning and more
space on the ground level.
Besides oelng impressive in design, tne ztggurat allowed flexi­
bility to the renting agent who could offer higher floors with less
floor sbaee to Cgrrlllanles that desired the prestige bf nelgnt and
did not want to share the floor with another Organization. This
design also made available more terraces and more sunlight,
The ziggurats were mostly built in tne fifties as part of the
business expansion following World War ll. They were built guicnly.
eneaply, and not very well, reflecting a desire for an immediate
return on tne investment and a sufficient supply of floor-space.
Now architects do not tninu very highly of the ziggurat bulld­
ings. since they are no longer forced by the zoning code to provide
set-backs, they will probably no longer build them. ironically, the
new Whitney Museum is an upside down ziggurat and is considered
high-style, while the office buildings are not thought to be very
classy. ln view of this obvious suspension of iudqment it might be
time to take a new look at the ziggurats. Many will be seen to be
valuable works of art.
Reprinted from Arts Magazine 41, l'lu.1 (November 1966): 24-25.
aeeswolll we wnlvlwos or soc Lrwlrr
 \ ‘-ff
S.,
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WU 2
BIBLIOGRAPHY
Compiled hy Susanna singer
amprfur publications hy an urrur, this durumuun
W Y¢n1s|977 rv 1999. For :he yznrs 1965 101976,
Sze Ahdn Legg et aL, Sol LeWitl (New York:
'rm Museum ufmudrrn An, ws).
Publltalions hy KhE Artist
Artist Books
sn u/1-14 A. Los Ang¢1¢§¢ Aa Gnunry, rgss.
Four Basic [Gust nfSrmighl Lines, London:
Studio International, wsu
49 Thru-Parr vnrumunr Using nm Dlffuznr
[Grub ufcuurr, 1967-reed. zurarru Bruno
Bisrhdfbugur, msg.
Four Bas: Calnurx and Their Cr/mhimzrians.
1unddu= Lisson Publirnrrunr. 1971.
Arcs, Circlrei, and Gmiv. Bern znd Paris:
Kunsthalle Bern and Paul Bianchini. \971.
anus rs Lignrs. Paris; Galerie Yvon Lnnrbur, rm.
sir WullDvaw1ngs:A1r.< wrrh srmighr Lim.
Nat-Straight Lines and Bmkm Lines. Houston:
cumk anuery, 1973.
Wall Drawings: Seventzen Squares uffrghr Peer
with Sixteen Lines and One An. Portland:
Portland Center for the Visual Arts, \973.
(llzlim Edition: Diaussene quadmn mn stdin
una gd un nrrn. Munn; Galleria Tosclli, 1974),
AVIS and Linei. Lausanne and Paris: Edilxuns des
Mzssons znd Galen: Yvon Lambert, l974~
Dr/1wing.S`:|'izsL IL III, IIIIA and B. Tunn and
Dussrldorh Galleria Sperone and Galerie
Konrad Fischer, 1974.
Incamplae opun cum. Ncw York: luhn web"
Ga.ll*f% 1974,
The Lnumun ufzighr P.>iuu_ wurhingrdn, D.c.=
Max Prdrurnh cnunry, rm.
The Lamtinn ufungu. London: Lrmn
Publimxions, 1974.
Ld Pusizium di nu jigure gwmmirhe/nu Lunmun
afThr:: G¢um¢mr Frgurur. Turin: Gallena
sp¢ruu=, rum.
Squares with Skies and Camus 771m Off Brussels:
Galerie MTL, 1974­
Grids. Brussels: Pour retire la libené, 1975.
Linzs and Cnlur. Zurich, Basrl, and Bari, Italy:
Annemarie Vrma. Rolf Preing, and Galleria
Marilrna sdnurnn. 1975.
Rtd, Blue, and Ytllow Linesfam Sides, Cvmfri.
und rhe cm" u/rm Pngr to Purnu du u and.
1¢ru§n1<rn= Israel Museum, ms­
Geamztfir Figurn Within Gcnmetvir Figures.
Boulder: Department of Fine Ans, University
of Culorado, 1975.
The Lururum ufsrnughr, Nnl-Slmzghr und snr/rru
Lim and AH mfr Combinations, New vnrur
luhn wnbnr Gall:ry.1976.
Modular urnwrugs. Geneva: Adelanrr run
rurmnbnrg, me.
Brick wuu. New vur1<= Tanglewood Frm. |977
cuzur Gndn New York; Mu1nples,1g77.
Five cum on rwmryrrirr Squares, Bari, Italy­
Gallrnz Mzrilcna Bonomn, rm.
Fuur sruzr Krnd; dfuurr und cdldur London und
New vurln Lurun Gallery, Studxo 1n¢¢rnnnunn|,
und Paul Davxd Prusr, 1977.
Phn1oGrids,New York: Paul nu/id Prm. |977
Gnmrrrrrr rrgurrr and curry. New York:
Harry N. Abrams, rm.
open cfumerrrr srrufrumf run srumerrrr
Strurtures and Thur Combxnutxnns. London:
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|979­
/xu ruurrnrr cunrbrnnuunr ufsdr Grmnfrnr
ngurun Tokyu: cnlnru wurura. wad.
Auruurugrupm New York und Boston* Mump1¢r
and Land M_K.1°<>rf.rgsd.
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\9B0.
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und Mulupks, wsu.
Three srrufmrun Wd-ryan. zurrdu ».nn¢rnnne
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znwurrir nruwrngs. New York: Pnuln Cooper
Gallrry und Iohn Weber Gallery, um.
vrnn pmnr derxvure du un rung. norm- ugu
Ferranti, msn.
Lrgm en qunrrr drrmfunr ex ruurur leurs murin­
nrunmr, sdrdunuur. France. cnc Mum dnrr
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surzrmn. Chagny. Pram: Au fond de In ruur
A drmle,1984.
Pyrurniden. Vienna: Galerie mer Pnkrrrn, ruse,
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Musée d`an ruudrrne d¢ In vulle de Paris. rw.
Grkzpprf Furmrn Munsrer, c¢ruurny=
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s.»1Lrwm. Fnrnu znrrrwdfrum u Curr, rum
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wuessnm
Wrxanans rm 1 run snr: /uurr. Un Kuwuru Flurrnrr
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Lrnur 6 furmrr. Pans; crnldne Yvon Lurnburr,
ruse
cube; A cubf Pnurngmplrrd hy cum: llurbnrr
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cunrlnnauunr New\/nrk, R<1me,and culugnn
Jann Vskbcr Gzl|:ry,Ed|z|un1Marin vzururu,
and wnldrer xnnag, |990
Blnrlr cuunrhen Pans- Nouvelles ddiriunr segurer,
rm.
sul Lewin. ruur fiuzurr und AH Then curnbrnuurnu
1994.Pans: Paul arnndunr and Galerie Toner,
|9941
szurzr squurrr. Purin Arurrr Book Inmnnuunal.
1995,
um cubrrosrnldnrn.:;¢rnnnnyrc.rnr1,ru9u.
sul Lei/An: Flat and Ginny squurrr Qhunr,
Be1gxum:Imschoo\,1998.
Hunan ufridrur. murugru Museum of
Comemporary Arr, 1999.
Other Artworks Published bythe Ar\i5!
"Serial vrdiufr Nu. rf' /fuprn Mugnzxnc, secnon ry,
uns sw. 1966. n,p.
“Lmcs and curnbrnnuunr ufunnr," Arr <» Prnurr.
buurrur rs, wsu.
“funded Bu11eran."Ar¢ an Pn1)err,bu1le\in 43, um.
"Ten Thousand Lrnnr/sur 'rhnusnnd Two
Hundred and Fafryrvave Lines." Arr <<> Pmrm,
bullenn 32, ran.
“Lrn=§ and Lands, Arcs and /urs. and Lands and
Arcs." Arr d~ Prrum, bullenn 6n,197z.
“1_unngrnpn§ und wnu Drawing." Nova scum
College ufAr\ and Design. Hal\fax.197z.
sul Lrvmf, Bun. I\aly: Gallena Murdcnu Bonomur
|973­
~‘vrer Muurrrkdnrngrn/Quurru owns murauri'
Arr <9 Pmrm. Brumlu Gnlenn MTL, um.
“Locanon of Thru G=drn=rrrr Fugurur." Brussels.
sofrdré du dxpdsuiuns, Palais des bdnur nm,
|974­
“wnu nrnwrngs and srrurruren The Locatmn uf
sur Gwrudrrrr Figures/Variatxons of lnrnnrplere
open Cubes." New rnrxd lohn web" Galleryr
1974.
Gruphrk. and und Bun; Kunslhalle Buren and
Knrnfdld und cur., rm.
"Incumpletc opnn Cubes." Arr ef Prruffr,
bulletin ss, rm.
579
 "Sol LeWlt!," Extra (Cologne), no. 3 llanuary 1975)
Frye srrurirrrea Hammaralridld Plaza sr11lpn1re
Garden. New Yotkr lnhn Weber Gallery, 1g76.
"The Location of Six Geometric Figures." Dauble
Page, no, 1, lanuary 1976, Zurich: Annemarie
Verna.
"On The Walls ofthe Lower East Side." Arrjhrum
rs, no, 4 lneremlaer 19791; 4<f51.
“A Pro|ect by Sul LeWitt." Arljbrum au, nu. 1
(October 1914111 edyer, 5943.
"Geometric Forms ln Black and White and
Color."A E l U O, December 1982.
Borges, lorge 11115. F11r1anrs,w1tl1 511lrreree11
1llurrrar1a115 by Sol Lewm (printed by lu
waianabel. New York: Limited Edirir1n5, 1914.
12111111111 of 151111.
"Ltnes 1n Four Colors and Four Directions."
Tema celesre, s1rar115e, Italy. oeraber 1914.
P1y11m1d1. 111 foldout pager, signed and numbered.
Turin: Marco Nolre editore, 1956. Edition of 400.
Prramai. e foldout page. Edition of 1511. r11r1111
lvlareu Naire edrmre, 1915.
‘~l.11l1<1grap11ie§ lrlar-'rap Pyramids)."No1se. nn, 7.
19147. Maeght edneur, Paria. pp, ami. Edition
afaaaa, plus 1111 signed and numbered.
“A nrawmg Page c111>e5¢ 41 Praieri for Arr/arum
by sal Lewin." ,11-rfarrrm aa, nd 9 (May 199111
1dr-a.
Writings by the Artist
“z1ggurara."An1.wr1gr1rine 41. 1111. 1 (November
19651; 14-25.
“Paragraphs dn Caaneepnual Arr,” /afrfafum 5, nn.
10 (Iune 1967): 79-33.
l“Tl1e Square and the Cubefl In Lucy R. Lippard
er al. “Homage to the Square." Arr in America
55, na. 4 rluly-111151151 19671; 54.
V\1%ber,Anna Nosel, and Otto Hahn, eds. “La Snda
del S1s1ema."Mm1> nr1,14(lune19s8):34-71,
essay by sul Lewin pp. 44-45.
"Drawing Series 1§58 (F0ur§|." Studio Internatmnal
177, nd. 910 (April 1q1<1gl¢ 159.
“se11re11<e5 5111 Conceptual /tri." An~L1111gu11ge 1,
na. 1 <May 195911 11-13.
"l Am Still Allve, On Kawara." Studio International
rad, nu. 914 lluly/Augun 197r1;; 17.
"Ruth Vullmer: Mathematical Forms." Studio
International 11111, nn, qz8 (December 11171111
156-57.
["wall nrawingfl ln Gregory Battcock, ed,
“ t>ueumen1a11d11 in Cu11<epr11alAr1."Anr
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Doing Wall I]raw1ngs."Art Now’ New Yorlr 3,
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‘All Wall Drawings."/ma Magazine 45. 110. 4
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‘snl l.ewirr" Flash Arr, no, 41 ll1111e 1971): 1.
‘Bonki."Arr Rue, no.14 (Wlntet\976/77):1o.
While ln Art ls White," Print C17Ilertur3
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Glnzer. Laszlo. Westklmst, Cologne: DuMont
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New warlrr of Contemporary Arr and Marie.
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Rice. Shelley, Srhemex: A Dread: of lnstallatinn
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Carey, rra11ee5, sig Prmrr. 111111111111 Arts muncil
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Amerrran An srnee 19711. New vnrlu w11ir11ey
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Galleria Pietoni. Alighiero P Buettlr n17veml7re1g8J1
sal Levwri. disegni di parm. cailm Paaulini,
/zusses runfidences, llnme: Erdiaiunl Pierdni, mea
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snr, Sasltia et al. camegre lnrmrananal. Pin511ur11,111
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A Sefand Talent: Painters and Sculptors Who Are
Aim Pha/npaphrrr. Ridgeneld, Conn.: Aldrich
Museum of f,11n1emp11rary Arr, 19115.
Bourel, Michel et al. An minimal ll. Bordeaux.
France; CAPC, Musée d'ar1 eunrempdrain, 19%.
Day. l-ldlliday T. et al. Pninrrng and Sculpture
Today. lndianapolis: Indianapolis Museum of
Arr, 19136.
longs. Pier de, ed. eye Level: oaghpagre.
Eindnnyen, the Netherlands: Stedeliik van
Abbemuseum, 1986.
Hoet, lan. Chambres d’amis. Ghent. Belgium:
Museum van Heddandaagxe Kunst. 1956­
Lewiarrn. leremy. srl Levwrn Prima 1971>-rs.
la111d41n= Tate Galleryq 19116.
singen11a11, Howard et al. lndiyrairiata A Selected
Hixmry afCvnr¢mparary Art, 1945-1936­
Los Angeles and New vnrle M11»eun1 uf
Gmnempnrary an and /11>1»eyi11e Pras, ues.
Starr, Ruben. The Purist Image. Philadelpllia:
Marian lacks Gallery. 1916.
Trini, Tomassn el al, Maier dulaksirna. Sirac\|s¢1
Italy: Cltiesa dei (hvalieri di Malta. 1936.
srduwen Mar-ia1111e et al. Skulptur Pwjehe in
Manner 1,1a7.o1|11g11e1 uulunnr, 15117.
Gnra, nn1111>. sal umm wau Drawing lad:
Sal: sir Paifrrirrgr/11u1aa1lari.1»1. Pemgia, Italy:
Own. 198%
Fence. Ian. lnsni: 0uts1H¢:An Aspen of
canrernparary S¢~ulprure,Antwe1-p, Belgium:
Museum yan uedendaagae l<111154. 19117.
FranL Erich e1 al. Intuit: des Bilda: Barry
zevwm Mangold. Tania the nmriry and
Herbert Vogel Collxtiarl, New York, Bielefeld.
Germany; 1<nn5r11al1e, 151117.
Hall, Dundas. ed. airnburgrr lnnemarianal:
Rzasan and £»1wrr»11 in Cant:n1poraryArt.
Edinburgh: s<411r1511 /1111 Gaum-il, 19117,
Hinson, Tom E. Sol I1Mh`l‘t. Cleveland:
1'l1e Cleveland Museum nfm. 19117.
Howard. lan. Drawing Nw sal LeWirt.
Baltimore 'n1e aalrirmare 1411151111111 nfAn, 1957.
Kaiaer. Prana Melnevn: wnrrr in Pragma. Oinm,
France: Chateau d'Oiro|1. 1937.
l.1eWitt, Sol, Danld Buren/Sal lzWitf: Centre
,111m111a1 111111 aanrernparain. Gre11ul>le, rranae
Magasin. 1987.
Pak/:sd1, Peter et al. Malerei- Wandmalerei. GRI,
Austria: Grarer Kunsw¢1ein.19!7,
Paley Maureen. wall Wnrlrs. Manchester, United
Kingdom: Gurnerlrnuee, 19s7.
Rosenzwdg, Phyllis. “snl levnn wnrka­
Interview with Sol I:VlHt!f' Washington, D.C.:
Hirelrlmrn Museum and Sculpture Garden, 1,117
Stockebrand, Marianne. Sol lzWitt Flin!
rinrna/w111l Drawings. Munsner. Germanyq
Westlalisicher l<1111=r-yerein, 19117.
Alnanshauser, Hildegund et al, Sol L¢Witt,
Wall Drawings: Continuous Farms with Calor
and Gouache supen»1p.1r¢d.\nenna vlnener
Seoession, 1988.
Beecher, Pamela. Pram me Collatian ufnamrrry
and Herbert Vogel. Kansas City Mn.: Mid»
America Am Alliance, 191111.
Bright, Betty Pitk Up the Bunk. Turn the Page,
and enrev me synem: spain by Sol revwrn
Minneapolis: Minnesota Center for Book
Ana. 191111.
Danolf l. Michael et al. nmra neaideap
The oliyereupyyrnann callaaian. cl1iragr»=
Museum df ounrempnrary An, 19115.
Felslrin, Nina. The Presente rr/Abrenees New
rnerrrllarirrne. New York: lndependenr Curators
Incorporated, rgxx.
l-laenlein, Carl. sal Levnn Wall Drawrngr
l-lanndyer, Gerrrranye l<esrner-Gesellselrafr, ress.
l~lrrnrer, sarrr. Black and whrre. New York: Marisa
del lze Gallery. ren.
l<rrspir, Dnnald. Sightings: Drawings wrrh cnlan
New York: i>ran lnsrirrrre, raaa.
Marrin, Henry. virrggrn rn lrrrlrra lzayenna, lralyr
vinaenreea cnrnrrnale, raid.
ii/lnrrs, l-lrrrrb er al. Her Merabei wrheeld­
Frrrnrnrre as Arr. imrsrrerdarns Mrrserrrrr lanyrnans
van-serrrringen, rear,
selrieldalrl, Perer, einrerrlrlralarara nylryrrnuerraf
crrnrenrpanary Anrenean Arr, Tarnpere, rinlands
sara Hildenin Taidemuseo, rear.
srariene; ron Dayx of Contemporary Arr rn
Mnnneal_ Mnnrrealr Centre inrernarinrral d'arr
wrrremporairr. iqlla.
saeernann, l-larald er al. zerrlea lvlrrnrelrr Presrel­
verlag, rnaa,
Tbnrienrann, Felix el al, Rin, Gelb, sian. serrngarr
and renfens G, Marie and A. Nlgg1l,\9BB.
wiesler, Hermann. Pynanrrden. rreelrendraelrern,
Gerrnanys Galerie lule Kewenrg, rear.
Bannard, walrer Darby er al, Made rn hnrerrera
virginia laeaeirr virginia Beach Center fer rlre
Arrs, rain.
Bourriaud, Nicholas, srrnerrnes iderales Genera;
Galerie Pierre Huber, read.
lceseier, lane et al. Under Presrrrrer Western
Pnnrmnkingfrbm rhe |5rh cennrry in rhe eresenr.
Vero Beach, Fla.: Center for rlre hrrs. raw.
Kirshner, lrrdirlr lznssi. Enennrrass Panrgrresee
/anrerirrrn Meerings nn canrernparary /in.
Lisbon: Fundacao calnrrsre Gulbenkian, read.
Marshall, lzrelrard. lrnnrrrrenal Olyecrs: wrrrlrs
/nrnr rhe Pernranenr calleerinn afrhe whrrney
Museum nfrirnerirrrh Arr. New York: wlrirney
lvlrreenrn of American Arr.1989.
Miller-Keller, Andrea. Sol Levlhrr. Charleston, S.(I.:
Gibbes An Gallery, raise.
Mollandeu Lo. Modern Mneren 'sn l-lelsinieis
l-lelsrngin Taidelralli, rang.
(kuvrex rhnrsree Paris: Galerie Enrico Navarrar
1959,
Page, srrranne et al. erin ennreprrrel, rrrre persper­
riye. Paris: Mrrsee d'arK rrrnderne de la ville de
Paris. 1989.
Rein, Ingrid. Sal L¢\'Wtt. Munich: Galerie Tanlt.
1989,
Rnsenzweig, Phyllis et al. Walks 88: Sal LeWirr.
waslrirrgrnn, uc.; l-lirslrberrn Mrrserrrrr and
Sculpture Garden, rm.
Singer, Susanna et al. sal Lelinn Wall Dnawingr
reiir-rgss. nern, Switzerland: l<rrnsrlralle
Bern,19B9.
saenrrann, l-larald et al. srnierrehrenr Willr
Varstel and sinrrrl in HH. l-larrrbnrrr, Gerrnanyr
Deiebrarlrallen, rare,
Weinberg-sraber_ lvlargii er al. are Frrrbrn da Haan-r
on rnnn zrrrielrs srrfrrrng frrr konsiruktive nnd
korikrele Kirnsi, 1989,
Baker, Kerrnerlr. The Fryrrrre ofrhe obyerw A
Selection nfeirnerrran Arr; Mrnrnrrrlrrnr and A/ref.
Antwerp: Galerie Ronny Van de Velde,199u.
Bcnezra, Neal, ed, Aflinities and Intl4illurl$: Thr
Gerald s. Ellrrnr crrlleerrnn of cnnrenrpnrary An.
Chicago and New York: Arr lnriirrrie of clrreagn
and Tlrarnes and nrrdsrsn, rears,
Bnurel. Michel el al. Chrxsllun Ballunxkl. Daniel
Buren, Gllben und George, lunnis Kalmrllxr, Sol
Lellml, Rithard Lang. Muna Merz, Bordeaux,
Praneee CAPG, Mrrsee dan ednrernpdrain, idea.
Dion, Arthur er al. Visual, Tatrlle, und Furlrtlamzl
Cbnlenrprrnrry fnrnrrrrre rn Easton Gnllenea.
Boston: lelarerrs Gallery, rgqn.
Gianelll. Ida e\ al, Arte ¢/hte, Turin: Castello dl
Rlvoll. l99u.
Krrsnrlr. loseph et al. lcepradrrred ainrhenrie. Arr
Errhrbrrrnn an rhe oerdrrnn ofthe opening af
Bnrneya New Yank. Rzkyo. /npnn. Tdleyns Galerie
Via Eight at laarney‘s New York, rggn.
Lauter, Rolf el al. Ausrtelllmg im Eerelrh Dom­
Ranrer- zerrgendrsreehe Knnei rnr rrndrrerhen
Raurn. Frankfurt Der Verexhn, 1990.
Oliva, Achillc Bonita et al. Sul Lel/Hn: Opeve
yer-enn, pyranridr, ennrpler /arms, e fralding
srreens, Perugia, llaly: Elccla, Fdilori Umbri
Assneiaii. 1990/1991.
sal Lemhrr Banks rynarrrrr, cnlngner walrlrer
Knnrg, reed.
Soi LWWII. Recent Works, Toyko: Tonka Museum
of Contemporary Arr, reed,
Adams. Dennis et al. The Political Arm New York:
Iohrr Weber Gallery, 1991,
hinardr-Argenee, Dnlene Lu Revunrhe de l'nnrage_
Geneva; Galerie Pierre Huber, war.
Collins, Tricia el al. Who Framed Modern Arr,
an The Qynnrrrrarrye LW ef Roger Rabbit.
New Ynrlrs srdney lanrs Gallery, rear,
Kessler, Ianc el al. Lemhrr. Trngrrely Penn;
Cuunrerbnlanfe (Charlotte, N.C.: The Hans
and Waller seelrrler Gallery, rgnri.
lvlensrnger. Ingrid. snl Lewin Complex Ferrnr, wall
Drrawrngr, Frankfurt: Gerrelrrsgebarrde F, rear.
lzesrarry, Pierre. Illérne lrrennnle de srnlprwe
Mnnre crrrla, rggr. New Ynrlrs Marisa del Re
Gallery. rear.
Reynolds. lnelr. /imenerah Alrsinreirnn ai the
Addxsnn, Anduver. Mass.: The Addison Gallery
nrhrneriean Arr, Phillips headerny, rear.
Sheldon, lames L. er al. Marian and Dacumenr,
Sequenre and Timer eradwearrl Mnyhrrdge and
canrenrprrnary Arneneran Phrnngnrphy. Andnyer,
Mass.: The Addison Gallery of American An.
Phillips Aeadenry, rear.
EI srrenri de Egrprrr; Ln lnflrrenrrn del nrre Ewen;
en el arre ennrenrpenrneri. Married crrys Genrrn
Cultural/Arte Cnrrrerrrpnranen. war,
Brown,F|i1al>e|h A. "The Lryrng objeer " lin
Arr cnllrerrnn nfellen H /rrlrnrnn. oberlrrr,
olrrrrr Allen irlernrrrral hrr Mrrsennr, oberlrn
College, rare,
l<ellein, Tlrnnrrs el al. Plnrayer/nlrrrrrrg rngaerrrnr
Stuttgart Carrlz, waz,
Laml1erl.Yvl>n. ryrrrr Larnhen r-nllerrrrrnrrr-_
vrllenerrye duxseqr Musée d'arr rnnderne de
la enrnrnrrnarrre rrrlraine de Lillc,\g91
Rose, serniee. ,illegnnra rflwaderrrrrnr­
cnnrernpanary vrnwrrrg. New irlrrles Tire Muxeum
of Modern Arr, rage.
Singer. srrsanna. ed $ulLe\1T1l l1Llll[7ruwirlgs
rgsa-rage. Bern, swrraerlands xnnsrballe
Bern, idea.
Singer, Susanna er al. sal Lewrrr Drawing;
rger-nigga. The lelagnes l-laags Gerneenrenrrrserrrrr,
1992,
Tnrnrfdrnr Brldolrye/nslrrrlprnr nn an. /rrhrhrrrrdrn
lsasel» l<rrnsrrrrnsenrn rrnd l<nnsrlralle Basel, rage.
laarelrelnr_ David er al, sal Leiwn, srnrrrnrer
rrseerm. orinrd- lr/lrraerrrrr nf ivinderrr Arl,
|995­
errraregra del senndns Georg Herald, /aseph
xrnrrrh, Sal Lnlwrr, Marlene orhlerr. Giidn, Spain:
Palaern lzeyrllagrgedrr. cenrrn rnrernaeinnal de
arre, i993.
Landau, Ellen G. er al. as Years: A Rerrrrspeerrye,
cleveland. Cleveland Cenrer for orsnrenrpdrary
Ari. r99;.
Mrllerexeller, hndrea er al. sal Lewin Twenryefrye
renn nf wall nnawrnga. 1968-1y93.Andover,
Mass.; Addrsnn Gallery df Arnerrean Arr,
Phillips Aeadenry, rnga.
Arrprng, Michael. Drawing izrrrrnrrr lnnarhan
iznrnfelen Sal Levhrr, lzrehrrni serna l=r>rr viirrrlr,
Tex.: lvlrrdern hrr Museum nf Farr wnrrlr, rem.
Grll. larendan et al. an Wars-Art rn the Presevxr
Tense: The Aldrreha Curamrial Hrrrrary
rgraergea, izidgeneld, Gnnnn nldrielr Mrrserrrn
of Gnnrenrpnrary Arr, rm.
Parrlenr. lnlrn T. el al. From Mrnnnal rn caneeprnral
,ans wnrlra frnrn the Dnnarhy and Herlrerr Vogel
cnlleerrnn. Washingron, uc.: Narrdnal Gallery
df Arr, rqrra,
Trn ani yarn Alrrnlaren-nreranr nfrlre /ibanlnre.
Basel: Galerie lzeyeler. rw.
lzannre, Nielrdlas. From chnare and /eanne-Grande
to /eff Koons: /ahh Knldar An Prajeers and
Galleerrrrn. sydney: Mrrserrrrr nfcnnrenrpnrary
AH, \99S,
Gnldsrern. Ann el al. Reennrrdenng rhe olsjerr of
Arr;l965-1975. Lds Angeles and carrrbridge.
lr/laesn Mrreerrrn drcnnrenrpdrary Arr and MIT
PYESS. 1995.
lylieleenberg, Dayrd er al. Prinrrrralrrng rn hrnenea:
Cnllnlmrarive Prrnre and Presses lynn-wars.
New Ydrle Harry N. /ibrarns, rags.
rn wandrnralerer- Wall Drawings and wall
Prrrnrrngs. lvlrrnielrr Kunstlerwerkslatr
Lothringcr srrasse, rage.
einerdebaeny gill
 singer, Susanna el al. sal Lel/Wir: Working
Drawings. New liurlee lulrn Weber Gallery, 1999.
Waysun, Anne et al. srsenee and Persaasran: Tire
Power oflflnrk and White. Buffalo, New York:
Anderson Gallery, 1995­
de Corral, Lnrena M.. ed. Sol Lrlwrr. Urbuyos
mumles, Wall Drawings. Madrid: Sala de las
All1a,as,199b_
Dargaud,Mnn1que er al, rrairs renrilrles. Macon.
France: Musee de Macon. \§9é.
Davies, Hugli M ei al. lilarring ilie Bnandarres:
lnsrallarran Arrl96¢1996. san Dregar Museum
of Contemporary Arr, 1996.
Drucker, lnhanna. Arr at the End ofthe zarh
Century' Selenium; from :he Whrmey Museum uf
Arnerrran Arr. New York: Whitney Museum uf
American Arr, 1996,
Frankel, David, ed. Snlpefs Nes1:Art that Has
Liyed wrrn luey lippard. nnnandaleeane
Hudson, New York: Center for Curatorial
Studies and Arr in Contemporary Culture,
Bard College,199f1.
Miller-Keller, Andrea et al. Sabre o sal e as esrrellas
Derennas de parede de sul Lewin/ofsan and
Stars: Sal LAW!! Wall Drawings, Hartford,
Conn.: Wadsworth Atheneum. 1996,
Mnssrnger, lngrrd et al. sal Lewin- Wall Drawings,
sryrnfnarn wall Pieees, rawer, ludwigsburg,
Germany: ludwigsburger Schlossfespiele­
1<unsryere1n ludwrgsburg. 1995.
sal Lewin Drawings. wareryrlle. Maine: Colby
Gallege Museum of Art, 1996.
Bussmann, Klaus e1al.Skl4lplur Preielrre in
Mansrer 1997 Munsrer, Germany; Gerd Harie,
Westfalisches Landesmuseum, 1997,
Breuer, Karin er al. Tlrrrry-Frye years at Crown
Pnrnr Press Making Prrnrs, Darng Arr. Berkeley
and San Francisco: Flne Arts Museums nf
san rranersea and University of California
Press. 1997
iles. clirissre er al. In visible Llgnr Pnnragrapny
and Classdicarion in Ari. Srrence. and the
eyeryday, orfardr Museum i1fMi1dern nrr.
1997
Lee, Pamela. Drawing ls Anarrrer Krnd af
Language' Keren!/imerxcan Drawings from a
New Yark Prrynre cellerrien. Cambridge. Mass.;
Harvard llnryersrly Art Museurns, 1997.
Oetker, Brigitte el al. Realrsariarr: Kunst rn der
Lerprlger Messe/Arr or the Leipzrger Messe.
Cologne: Oktagon,1997.
Bunnell, Prrer er al. Pnnreyrapny nl Prrneernnr
Celebrating as Years nf calleering and Teaelnny
ine Hrrrary of Pnaragrapr1y_ Princeton:
Prrneeran unryersrry Press, 19921.
Cnra, Bruno el a|,SnlLe\1/mln Irulln. Perugia,
lraly. (LERP lcenrru lzspusurya della liaeea
Paulina), 19911.
Cortenova, Grargiu er al. sal Lewin, verarra, italy:
Galleria d'arte Mbderna e Contemporanea
Palazzo l-ur1l,l99B.
1 alalloenawrir
Fuchs, B.H, er al. Alxgo$lad up her stand-Ad
Dekkers in zgn ind; Waves Breaking an rne
Shure-Ad Dekkers in his lime. Amsterdam:
Siedeliik Museum,1998,
Lau£ Cornelia et al. Arlisr/Aulhar: Conicmpurory
Arllsrs' Books, New York: American Federation
of Arts and D.A.ll \99B.
Sauer, Chrlstel. Mrnirrral Arr: Carl Andre, Dan
Flavin, Donald Iudd, Sal LeWiI1, Rol7zr1Ml7rris.
Brussels: Bank Brussels Lambert, 1998.
srrrnger, lulrn. Material Per/eriian: Minimal An'
and Irs Afiermarh: Srlmed from :he Kerry Smkes
Cullertlan. Perth: Lawrence Wilson Art Galleryn
Universily of Western /lusrralia. 11911.
Bortlle, Rolf et al. Die Sammlung Paul Maenz.
Weimar and Osfilden, Germany: Neues
Museum Weimar and Canrz, 1999.
Burler, carnelia H. Afrenrnage: Drawing
Through Process. Los Angeles and Cambridge.
Mass: Museum afcanrernpisrary Arr and
MIT Press, 1999.
camniiaer, i_u1s er al. Glalral caneepraalisrnr
Parnrs offlrigin. 1950s-19sas. New varlr:
Queens Museum ofAr1. 1999­
Praenlrel, Jeffrey, ed. anrwenry, san Franaisear
Praenleel Gallery, 1999.
Phillips, Lisa et al. The Arnzrlron Cenlury: Arr
and Culiure, 1950-2000. New York: Whitney
Museum of American Art and W.W. Norton
and Co., 1999.
Schellman, liirg. Wall Works. New Yorlc Paula
Cooper Gallery and Bdrrinns selrellnran, 1999.
Schick, Ulrike. Sol Lel/Wil Wall Drawing.
Otterndolf Germany: Museum muderner
Kunst Landkreis Cuxl-raven, 1999.
Selected BOOKS and Articles Since 1975
"Donald ludd and Sul LeWitt: Struc1ures.”Art
inrernannnal ar lMarel1mpril1977)= ia.
Dunbar, lill, "The Decline and Fall of Conceptual
Arr," Vx/lager, ei Nuyernlser 1977.
Harvey, Mrelrael. Notes on ine Wall Drawings afsal
Lewin. Geneva: Adelina yan Furs1enherg.1g77.
Kuspil, Donald B. "Kus}1lt/Masheck lcont.|."Art in
Arnrrrfa ns, nr1.l (lanuary/February 1977): 577.
Lubell. Ellen. Arts Magazine 51. no. 9 (May1977}:37.
Masliey, loseph. "crue1fr1rmal1ly_" nrrfnrurrr rs.
nu. ra lsurnmer 1977): ea.
Miller. Donald. "Stars nf Minimal Art Shine
Here." Prrrslaurglr Pasl Gaeerie, 1 October 1977,
Perreault, lnhn, "Patterns nf Thought.” Soho
Weekly News, in March 1977.
Wull Drawings in nasrrnlia. sydney: lulrn lcaldar.
1977­
“Wl-lite ln Art is White?" Print Callecrork Newsletter
ll, nu. 1 (March/April 1977): 1~4.
Wooster, Arrrr-Sargent. ARTnrws 76, rid. 5
(May1977): ran.
Baker, Kenneth. "Energy as Form." Arr in America
aa,nrr_3<May/lune197rs):7a-iii,
Bearry Franees, “sal Lewin at MaMA7 An/World
(Felm1ary1979)i +
Bell, Tiiany. "Sol LeWin."Ar¢s Magazine 52, na. B
(April 1975): as.
Dunbar, Ii|1.“I.eWitt: Minimal Maxirnris.” villager.
9 February 1978.
Flynn, Barbara. Arrfnrrarn rs, 1111.8 (April 197s):s1.
Glueck, Grace. New Yarlr Times, 13 lanuary 1975»
Glueck. Graze. “Sol LeWitt's 'I11n§e Gym for the
Mind." New York Times, 20 ll“\-“YY 1975­
Hess, Thomas. “Sol LeWitt and the Bliuard of
Cubes." New York Magazine, 27 February 1978.
Kingsley, April, “Minirrral Ari Goes Marrinralr
wllare Volke,;1.7 February 19711,
Kuspit, Donald. “Sol LeVlHlt: The Wit.” Arts
Magazine 51,1111 s (April 1978): 11s.
Marwrati, Gerald, "I:Wit1 Brings Minimalism
In MuMl\." The Trib. 31 la|1uary197B.
Maslieelu iaseplr. “Hard-Cure Paintingf' Arrfaraen
rrr, 1111. B (April 197s): 4655.
Muchnic, Su1anne.“‘Poetry of Systems' at Cal
Teen.” las Angzks Times. 14 Mareli 19711,
Perreauli. 1ul1r1.“la11r,ieal Beauryf Saha Weekly
News, 9 February 197s.
Pincus-Vlhttell, Robert. “Strategies Worth
Pander-ing; Boeliner, slrapim. Reise, lavinnf
Ar-rs Magazin: sr. 110.8 (April 197s): raa.
kubrn, David. “Poetry of sysrerns." Arrweek,
is Marelr 1971.
nubinsnein. loel. “rlre Poetry of Systems.”
Calmrmia TECH. lo March 1978.
Russell, lohn. “After Céunne at the Modem."
New York Timer, 3 February 1973.
Senie, Harrier. New Yaris Pass. 11 1=ebr11ary 19711,
Stevens. Mark. "Mind Over Matter." Newsweek,
19 February 1971, 13-sa,
Tallmer, ltrryh “Minimal Lines, S!1|l`fofSports, and
Sknd-lbooks.” New York Post, rs lanunry 1975.
weasrer. /inn-sargenu “ieinnrr Goes to seliarrlr
Arr in Arnenca 16. no. 3 (May/lune 1971): sa-sa.
Anner, Alan G. “MCKS Exhibit Showcases Sol
LeWitt’s Aehieveinents.” Chlkaga Tribune.
17 lune 1979.
Baker, Kenneth. “Less is Less." Boston Phoenix,
27 March 1979.
Barkley Alan. “iaelrie vrnnsar and Pasre
Minirnalisnr.” Vanguard s, nu. 7 (September
1979): re-17.
Blistene. Bernard. “Sol lAWitt, Niele Tomni­
Galerie ryan 1.amber\." Flash Arr, nos. 91-93
ioeraber/Nayerrrber 1979): 59.
Dunning, lennifen “An A1anr»c.arde rlireesarrre in
B1'ook1yn."New York nrner, as November 1979.
Frank, Peter. "Geometric Figures and oulars"
village vaiee. 3 September 1979.
Garret. Robert. "Take it or Leave it... Minimal Art
Still a Child of its Time? Boston Sunday Herald
1 April 1979.
loselit, David. “Par Minirnalisrs, the An is the
obieerf' Boston Ledger, aa-an March 1979.
l<olog1, Brian R. “rrarrn an Empty Space and Call
i1 Art." C111-rsnnn Science Monit11r,6 April 1979.
Krarner. Hilton. mn; Whitney Reviews 1111 7os."
New York rims. 19 lons 1979.
Pacheco, Richard. “Boston lnstitute Gives
Showcase to Minimalism.” Standard Timer,
1; April 1979.
Saulnier, Par Emmanual. "L'Abstrait dessin."
opns rnrornorional, no. 71 (Spring 197911 11-19.
Schulze. Franz. "When is Good Art Not Art?"
12111111311 Sunday Tongs, 1 lnly 1979,
Taylor, Robert. "ons Minimalism at ICA,"
cnrirrinn srirnrs Monitor, 1 April 1979.
Thorson, Victoria, ed. Great Drawings of/ill Time:
The Twentieth Century. New York and Redding,
Conn.: Shorewood Fine Art Books and
Talisman laoolrs, 1979.
cglanr, c1rn1a11o. ~v¢nis= slccp and Sparks."
Domus, no. oos 111111/Angnsr 191o1= 11-So.
Crorssletq Mimi. "Geometric Works of Sol LeWitt."
Horrfron Post. 11 November 19111.
Danofh Michael. “Sol lAWitt: A Wall Drawing,"
011111311 3 (ssprcrnbcr/o¢rol1¢r 191911 ss.
" '80 Medals: Artist Sol l.eWitt and Stonecutter
1ol1n ncnsonram /oa1na119, no. 1 (March
198111: 24.
Glueclt, Grace. New lkzrk nrnc1,11 lanuary 19111.
larson, Kay. Village vaicr,11 lannary 191o.
Pa.lmer~Poroner. Bru11o,"Whcreis the New
Direction?" Arrrpmk 1, no. 4 (17lar111ary 1950).
Perlberg, Deborah, "Dance: Lucinda Childs,
Philip Glass. and Sol L1eWitt."Arr/alum 18.
no. s llanuary 1911111 1143.
Ruxell, lohn. "Sol LeWitt." New York Timef,
7 November \9Bo.
“Sol l,eW1tt: Four-Part Configuration of Six
Geometric Figures i|\ Four Colors, |,1|,1|1, |\'1
six Geometric Figures and nil Tl11ir
Combinations; Six Geometric Forms." Print
Colkcrors Nrwrzcnrr 11. no. 1 (Iuly/August
191o1= 1o1.
Tennant, Donna. “The Artist as Think Tank."
Houston Chmrllrle. 23 November 1980.
Tilroe, Anna. “Het Geheel Dat Meer is Dan
di Vom der Delen.” Avenue, Iune 19110. 14.
Wooster, Ann-Sargent, “sol l.¢wir1's Expanding
Grid." Arr in Amerlru 65, no, S (May 198n):
\43'47­
zirrnnar, William. "Building Properly Heated.
Inspeetor sarislicd." Soho Weekly News, 17
lanuary 1950,
Abatt, Corinne. "Fleeting: Paintings Destined For
Brie( Lifef Eccentric, Birmingham-Bloom/ield
Edinrm, zz Ianuary 1981.
“lJArt a11jo11r1i‘1111i." Lfacprcss, 14 Pcbrnary 1911.
Balryn Ann. “Sol l.1eWitt Has a Homecoming in
Hartford.” New York Times. 17 September 1981.
Brown, Susan Rand. "The I/eWitt Riddle."
Hurrford conrnrrr Mognainr, 1; October 1911.
Caldwell, Iohn, “Sol LeWitt and the Walls of the
Wadsworth Atheneum,” New York 1imes, 26
September 1911,
Colby, loy Hakanson, ‘cranlaroolcs TKO lrernpo.
rary krrockouu.” Damn: News, 11 February 19111.
Hanson, Bernard. "conrcpnralisrs at Wesleyan."
1-l11rrp1rd conrnnr, 1 November 1911.
Hanson, Bernard."l1Witt Finds Home at
1\1l1¢nc11rn." 1-lnrrnrrd Courant, 511 A11g11s1 1911
Hanson. Bernard. "LeWltt's Demanding
Drawings." Hnrrford cn1ranr,1 October 1911.
Kramer, Hilton. "Art: Modern Shows uf(
Acquisitions ofDraw1ngs." New York Timex, 20
March 1981,
11/lays,Io11n Bentley. "sol l_ow111T1lr1s His l.1n1
from Geometry.” Globe and Mull. 14 March 1981.
McClurg, locelyn. "The Draftsman ls Vital Link in
l.»eWitt Plan."HnrIf11rd cnnronr, 11 September
1911,
Mclinroe, Col1n."Atheneum Buys LeWitt Wall
Drawing." Hanford conronr. 11 111111 1911.
Miro, Marsha. "Cranbrook`s Artists Decorate a
Room`s Skin,” Detroit Free Press, zz February
1981.
Pacqrrsnicnr, Alfred, "Sol Lcwnrs Le Developpe~
ment mural du dessin." An Press 46 (March
191111 1944.
Phillips, Deborah C. “New Editions: Sol LeW1tt."
ARTnews 111, no. 5111/larch 19111; 111.
Raynclr, Vivien. "Two Shows Contrast Social
Realism and Conceptualism,” New rorlr rirncr,
1 November 1911.
Russell, 1ol1n, “Arr c1r1log11¢s1 Thicker bythe
Dozen."New York nrnrs, 1 Aprrl 1911.
Russell, lol'ln_"Sol LeW1tz," New York Times, 17
December 1981.
Smith, Roberta, “Grtdlockf ‘hllage Volre, lifzl
111ly 1911.
Tigiro, Mary Ann. Hnarr and Gordon 111. no. 11
(November 1911): 11.
“wall Drawings on Display." Hartford conronl,
18 lun: 1911,
Field, Richard S. "On Recent Woodcuts," Print
Collectors Newsletter 13, no. 1 (March/April
191111 rao.
Armstrong. Richard. "Sol LeW1tt." Arvorum 21,
no.7lMarch1953):70-71.
Bell, lane. "Sol LeW1tt." /\RTvlews 52. no 3
(March 191311 ron.
Russell, lohn."lllt1strated Books Arc Making a
corrrcback." New York mncr, 11 n11g11s1 1913.
Russell, lohnflourneying Back in Time At, Yes.
1111 w11irn¢y." New York nrrrfs, 19 Inns 1913.
Fizlarutti, Santa."Sol l..eWltt: Galleria Bonomo."
scgno 41 tNov1rnl11r 19111; 17-19.
Liebmann, Lisa, “Stubborn Ideas and LeWittv
Walls." Artfnrum 23, no. 1 |October 1954):
64411.
1/loorrnan, Peggy, "New Edit1ons,”ARTnews 11,
no. 3 (Maron 191111 so.
Robins, Corrine. The Plunzllsr Em: American An
191fH9a1, New York: Harper sr Row, 1911,
Russell, Iol1n. “rs/lodsrn li/l11s<11rns Arc on Every
c1ry's l.is1," New York 111111, 19 April 1911.
Brenson, Michae1."So1 Lewin Dr1w1ng at
lsronlclyn M11s111m."Nrw York 1111111
1111111c191s.
1r11no, l>1¢ro_ “concspr11,1l, 1nrrnpo|og1a, graffiti "
cornere dd glnrno, 11 Dcrcnrbcr 1911.
conn, Sandra. "M11cl1 Ado nbonr Nr1rl11ng?"
crarns chrrngn 1111111111 17 |11nr 1919
1>’cl1.1,nr1n.1.“l coin d1 sol Lcw111"Ln c1111o1n1
dal rn111og1nr11o,»o lanuary 1911
c;in1@lsnn, Deborah "The Tower omrl. 'l 111
l;o111ral>lc Lrfs Assnrancs sncrcry, New torlc,
N1A»\rr,r111 Handrnaldfn of 111| 1,1111 “
Arr und Aornnn 1. no,1 roc1ol11r191s1;1sr1-Ss
l<r.1111r, Rosalrnd la. "11cw111 rn l>rogr1ss" 1111
urrgmolrry o/1111 /1y1r1r.r;111dr and orhor
Mndrrnrsr Myrnr, can111r1dgc. M111 1 lvlll'
vrors, 1915, pp. 141-51. Reprinted 1n Royrowof
conrrrrrpnrary rrrnon, s1n111c1 11111111 N1.o1l1rr
7,nr1.1<§111nrn1r 191711111-39.
lvlclvonald, l<ol91r1. “An lncprrfd ccorncrry,"
Arrworlr. 11 may 191;
lz1ynor,v1y1sn, “Tl1= Door snows 1\nn1r1a Nnsei
Gallery.” New Yurk Toon, 11 111nc 1911,
111111. Eine. “zo sol 11-win nach lralirn"N111 Arr
111 Europe 1or1ob=r/November 191511 foyer, 7-9
111sS1ll.1o11n."Tl1c Best and Biggest 1n
Pittsburgh." New Krrk Times. 17 November 1985,
scl11oldal~.l, vcror. Arr afOur nrnrs T111 sa111r»11
Callerrwn vol 1 Now York: 11711111 1915.
Tr1n1,Ton11naso.“1rw1r1,dal|'apparcnra all'
apparizione." 1111111 rrlarrr, no. 1 <Marrl1 191111
coyor.
w1lson, w1lliarr1. "The Art call1ri1s1 1_1 cienfga
Area." Los Angclcr Toner, 1 May 1919.
‘a1ranr.Gard¢ Arr Show Adorns Belgian Horncs."
Nm l/nrir nrnos, 17 1\11g11s1 1911.
confr, Holland. "Sol l1w1n at 1111 Drawing
Center.” /111 in America 71, no. 11 <n1c1111111r
191111 131.
nr=l1sr. Tl1o111as, “sol 1,111/1111 T111 Two scnrs
‘rorrns Derived frorn 1 c1111c‘1nd‘l>yrar11ids.‘
11111 Fncrnm moyernncr 1911/iannary 191711
1-9.
Guillnt. lacq11c1,“T11s lacsr Summer sl1o1~s1n
E11ropr¢ sol 1,¢w1r11 Wall Drawrngs an
11/lagas1n," cnrzorrn Magannr, no 14
tnngnsr/september19111=99.
Marcadé, laernard. “sol 11wi1r."Ar11rod1o. no, 1
l$u1'l1met19S6lZ B0-93.
Russell, lohn. "sol l_¢wir1.“ New York Tnncr,
11 March 1911.
snplrens, s1111nr11. "nn eooirabls l1=|ar1onsl11p2"
Arr 111 Arnrrrro 74. no. s <1/lay 191111 111711.
van d¢r lvlarrlc, lan. “Report frorn l>ir1sb111gl1=
T111 Tr11nn1al lzeyiyedfarr 111 Arnerrsn 7.1, no. 1
(May 191111 1c»9;.
Bork, Ern1s1."111rgl1¢rs Black 1111 11o1."ARTnrws
11, no. 7 or 191711 97,
norssy, 1ol1n.“Dra1~1ngs rracrnn 1111 lllusinn of
s1rr1pl1riry." 11111111911 san, 7 October 1917.
ararlonaraav 313

Hue:k»Ehmer, Brilta, "Wall Drawings:
1<111111v919111 M1111,1e1." 11111 1<11»111w11|1 411,
nos, 4-5 (September 1957): 184.
1<111p11. 1191111111 "sol L1w111¢ The 111111111111
C¢n1er."Arq'or1m1 15, nu. 5 llanuary 1987): ma.
Lang, Ioel,"S1x Words F11l1ng a H¢adline Span."
H.111f1111 6111111111 11 111111 19117.
Lapham, Lewis. "Notebook: Wall Painting."
H111pe1a, 01111191 1917. 11.13.
191911, 19 A1111. “A1 1119 1111111119111,111e 11111 9r1\19
New: L:W111 and Shapiro." Washington Posl. 2
December 1987.
McNally, Owen. “Sol l.eWi1K Decides to Come
Home Ag1111." H1111f9111 c11111»11, 1 M1141 19:17,
11/111191, c1111¢11119. “Les 5191911 9111111911111 111
sol L¢\v111J' A11 P1919 1111. 111 m1111111 19s7>¢
1932.
N111b111111, 511111, “sol 19w111= A11 1;11pl1»191."
D11 11/1111115 591111111 R1g11111, 11 11111 1917.
Rcif, 11111. ~‘,\11 nf 1119 1/1111113 E119 11 1119 0111191
of u1111111111 11111111111 of c911<1p11111 w111ks."
Nm York 111191, 99 A9111 1917.
111111911 191111. ‘~c1111¢§ c1191¢¢1." New rm mm.
1; April 19117.
111111111 191111. “1:/111111 19111911 11114 S111 Lewin?
N119 141111 n»1111, 111 A9111 19117.
5111111 M1¢111=1. “A115." P29911 M11g1z111¢, 1; May
1917. 4;-94.
111911111111 Phyllis,“Sol |.9w111’1 Dy1111111<
M111111111111111" Newsday, 21 A9111 1917.
\1\@11111, 1/111111119 ~‘s91 LeWir!: Idées d‘1111111."
A1111111119, 1111.11 M1111111111 191711 1.1-1111.
A191191 1~/11111991 “wan w91k1, c11111¢11111111<,"
/1119111111 1»11¢11111119»1111, 119. as 11/11111/A911
191151: 11.
1-111145, w. 11114, ~<;9|91>111111g r¢m9<1111y A11 11
Williams cnllegef' c»111»11[11 1/ H1g»191
m1111111111,1;M1y 1911.
G111111, 11111191 1111191 11111 G11111 111; M191 A11
c9111¢13' 111111111111 511911, 111 s9p¢1111b¢1 191111.
1.11\111191111,L111,s11AL1»w111. 11w1¢11<¢ 011191
G11|91y B111|¢¢i11, 139191111111 19111.
111111111.M111y A1119 ~‘s11\ Lewin 1.111 H11 A11
1111 the 111111119 191 Shows 01191111111 111 A191
5911114117 51111 M111111, 19 1911111111 1915.
o1111111111,1<|=111.“s111 1.¢w111. l11|111 w1\111"
H1111 A11,119. 1411091111111 191111 119.
s11111|¢1, 11v111g.A111111¢1111 /1119/1111 19991. New
v111|<¢ 11111111 a1 Row, 1911.
“sr11p111g 1111 111 sp11¢e."sm11»111»1. 11 1111111119 191111.
51191111111 1/1111. “sol 1.1w111 111111911 1111 /111 111
Idcas."Ch|1:uga Suv|~1imrs, 18 March 1988.
s11g111<111, 111111, "s11| Lewin; 01111111 14111111111
M1111111/Le case d'A11¢." 1111111 911111, 1111. 19
11111111119/11/111191119191199-79
1;111d11|111, 1/111191. “P<11111111g 91 1\1¢11111¢11111."
H9111 1111. 1111. 1.1; 1M11¢11/A9111 199911 71-77.
(lampbcll, Evcrrtl. “Sol l.eWi!\ Structure al
New 1119111111 511119 u111v11111y." P11119 Del 511|
51111111111 19191; 191111, 1-11.
amrroawiww
Chadwick, Susan. “Wall An: A Flening
B1p¢rienc:."Hauxmn Post, 1 May 1989.
F11111,411, 119. 14s lM111¢|1/A9111 1919): wvrr­
H¢11n11¢y, 511911111 “S1111111 s11|11111/s11| uwin,”
ARTnews 88, nn. 3 (March 1989): 171.
1<151¢lg111=f.A1111a.“,\111¢11=911 1119111111 11111 11
1-1111119 111 G=1111111y." Nm V911 Times, 11
Ocmber 1989.
Kulkus-Monlividas, Kristina, "Conc¢p11n.l Arlisl
Sol l,¢WiK\ Keeps Viewers Wondering." Nrws
and Caunrr, Evening Pas! (Charleston, 5.C1)1
4 June 1989.
MillerfK:lle1‘, Andrea. “Le Musée comme lruvre
zz ar1efac1,"Lex Cnhms du musée nnruanaldhn
»111dm1¢ |Sp1i11g 1959): ons.
Neil 15111111 “s91 19w111. 1111111191 011111 Gallery"
Anf11r1m1 27, no. 7 |M=1¢h 1989): 13741.
Nusluum, Eliot."New laWit1 Work Explores
11111111." D11 M9111¢1 5111111119 R¢g111¢1_ 13 I11|y
19119.
Russ¢ll,]0l1n.“Fr0m a Glnrmus Pas! to a
c11111111¢11111111y 11119111 F111111=." Nm Y111/1 T111111.
17 August 1959.
Russell, lohn. “Glory Days for Big Exhibitions.
Cominucd." New York 'I1meS, 24 December 1989.
Zevi, Adachiara. “Sol l.AWi!1: Un Conccttuale
inform: l’a1‘chi!e!1ura," Llrchrremrra 35, no. 4
(April 1919): 291411.
Bzlchclor, David. "Abstract Art R:\'us4s: Notes on
I_.:Wi\t and Reinhardt.” Altscrilm. 110. 79
011111111/F=b11111y 19911>1 6197.
Fawczn, Dennis. "Line and Logic: The Ar! of Sol
LeWm." Nm Haven Reghzev, 11 lanuary 1990.
FRAcfL1»111111i11; 199919119 “P1¢1111e1¢ £p11q11¢."
<<a11111g11¢ of 1119 mum111111 1111195111
Le P1111111, 19911.
Hf1pg11<1d, s1111111."1u1-1111111111 A11 History." An
m Amman 78, no. 7 |luly1990): 115-zz, 181.
Heanney, Eleanor et al. The Rzfca Collecrmn.
Chicago: Refco G11111919911.
Russell. lohn. "Sol LeWin." New York Timex, 11
January 1990.
Smi\h, Rnbcr\a.“M1nimalism on the March:
More and More Less and Less." New Ynrlr
119111, 111 |11111111y 19911.
Brensnn, M1chael."ln Conncdlcul, a Conctplual­
isfs Nonconceplual Collection." New York
T1111¢1, 9 /11151111 1991.
Gamarekian, Barbara. "Museum Resmres a Nude
19 s11111~." Nm 111111 mm. 19 |1111 1991.
Gamareluan, Barbara. "Show Closing Demanded
al Washingmn Museum." Nrw Kirk Timn.
13 Iuly 1991.
Hacketl, Rzgina. "Sol LeWitt's Ar! is Mind Over
Manu." 51111111 P1111-111¢¢111g¢111¢1, 111 N111=111b¢1
1991.
1-1=1111¢1111, M111i11. 5111111111119 L11f¢1111.111=111¢11,
01111111111 1111119 1/1115911111 w=9¢1\1111g, 1991.
|<1111111=1111=111.M1¢|111¢1,“1>¢¢1111g11119 1>=¢p\111|¢1
and Finding Polltics.” New Kirk Times,
11 |1111 1991.
l:CIair, Charles, Culor in Cantzmpamry Painting
New York: Watsml-G\|p!il.|, l99l»
Maslzrs, Kim. “Anjsl 'Fl.-abbcrysted’ at Decision
w P1111 Work” W11shing1o11 P11sl,1§ luly l99\»
Mmm, 16111. “Anim Proms! M11§¢11111 Dir:n.or'i
Fix of Paid' Washingmn Post, 11 Iuly 1991,
Mmm, K1111. “A111111 w=111 11111 of Eidaibilf
Washingum Post. 13 luly 1991­
Maslus, Kim. "Peep Show' Artwork Back on
Viewf' Washingwn Post. 16 luly 1991.
Mmm, 1<1111,“1>911pl¢ v1n111 1111v¢ mp show."
Washingnm Post, 17 luly 1991.
McNally Owen. “Sol lxWitl: ldca Man." Hargfard
C911111111, 4 A951111 1991.
141119119 ow¢11.“sp=1111 Fly 0191 119111111111 9f
l:VWl¢ Artwork.” Hanford Caumnr, 13 Iuly 1991
Parachini, Allan. 'Photo Show ls Bark in Focus"
1111 14119491 r1111¢1,1r11111y 1991.
Ripley, Deborah. “Prints and M\|]!ipl¢s: from
Candy 111 1<1111|; me lay 111 M11|11p1=." mmm,
no, B7 (5um|n¢r 1991): 94-95.
51111111911 1119111111111 “c111=¢91’1 cl11111p111= Navel
Warfare,” Wall sum l¢wmuL 14 Iuly 1991­
Sannsld, Edward I. “A Seruekss Ann-1-1px at
<;¢1191111|11p." Nfw HM11 1z¢g1m, 11 /11191151 1991.
Tcrnin, Christine. “An Work lnslallcd Aher
Dirzdur Balksf' Basmn Globe, 16 l\|.ly 1991,
wauis. a11111,“P¢1-9111; 5911" M111 Amzrim 79,
nn. 9 (Sepmnber 1991): 19,
Cotur, Holland. “Sol l.:VW\:L” New York Timls.
74 lanuirv 199;
larsun. Kay. “Drawing Gondusionsf New Ynrk
M11g11z111¢. 1 M1141 1991.
Pix1C\lS1 Rnberl L. "l:Win’s lmagm Arrive
Before He Does.” San Umlm Tribune.
19 November 1991.
llimtr. Sara. "Collecting P1-ioelrss An. |1151 for the
Luv: of ll." New York Timer. 11 February 1991,
s¢1.1~¢1111¢111~¢111. 111111. “s111<5¢1<¢11§, s¢11\911111=
Show l:Wi!t`s Aumsibilily” Harrfnrd Courant,
1 19911111-y 1991.
Vogel, (hml. “National is Pledged Loon-Work
c9u<<u911.” Nm V111 1111111.11 |=1111=ry 1991.
Zimmer. William. “large Slmchlres and Prinls
Rgveal Rools of Conce'p1uali§ll\f` New York
111191. 1 1111111.19 1991.
lacobson, Marjoryq Arr For Wnrlc The New
Renaissance 111 c111p111111¢ c11u9f1111g. 11911911
1-1111111111 11115111199 s¢1111111 Pr¢ss.1993.
lnhnson, Ken. `Krt and Memory” An in Amzrlka
s1.1111,11 (N1111¢11111¢1 19991.99-99.
\<111p11, D1111.1|11.“s111 11¢w1n:’ ,mf11111»1 91, 1111. 2
<o1111|>¢1 199311 97.
51191111911 M11-y. *s111 mmm 1‘w<111y~Fi11¢ Years
of Wall Drawing. 1968-1993f' ARTntws 91,
119. 9 (N11v=111|>¢1 199911 1711,
s111m1. Roberta. “A11 |11»D=pu1 191111 11 5111119
w1i1111g 1111 1119 wan." Nm 111111 111115,
13 May 1993.
Wilson. Andrrw. ‘Sol lAWilt lntervirwrdf
An Monthly, nn. 164 (Mardi 1993): 3-9.
Coen, Ester. "Sol LeWitt idee al cubof’
L11 lzepnlrlier, 111 Iuly 1994.
Goodman, ltmathan. “Sol l1eWi\t: Gallery \z8."
ART11ew1 93. nb. 1 (Iannary 1994): 118­
Gutterman, Scott. "Sol LeWitl: Drawings.”
1111111111 A1111q11e1 Magazine 17, 1111. 9
(November 1994); 97.
Kimmelman. Michael. “The Playful Side of a
Usually Austere Artist." New M1111 Times, 1;
October 1994.
Saltl1lerry.`5\ Year in the Life: Tropic of
Paintingf' Art ln Amfrica Ez. no. tn (October
19941199-191.
sel1ieldal1|, Peter. “sarnr Sol," Village vane, 15
Mar1l1 1994.
sehraenen, Guy. s11l Lewin; Systeme 11 lauelr/111111.
Bre1ne11.Gern1any1 Neue; Mueeurn Weserburg.
1994.
Ternin, clniarine. “The F111e Linea of S91 Lewin."
1111111111 011111. 19 September 1994.
Cotter, Holland. "Personal Without Persunallty,"
New Y9r1< Trrrrea. 5 October 1995.
Dorsey. lohn. “Sol LeWitt`s A11 Sounds Stiff and
Lurilre sen5119u§.” 51111. 11 February 1995.
Gardner. Iarnes, “The l>aa5ie1n 91' S111 Lewin."
New York Review r1fA111,n11. e (March/April
1995): 4-5­
l»l111dry.An11. Sul Levwrr. Pans: Centre 11an1ana1
dee ans 11laninue1, edin11n1 du regard, 1995.
MaeAda111. Barbara A. “sol LeWitt: Are, Lawrence
Mzrkry, loh11 Weber," ART11ewe 94, nd, 9
(November 1995): 1.11.
Rayn9r, Vivien. “vnrmraiie and wall Drawings."
New lhvk Times. 6 Augun 1995­
Rdwlands, Penelope. Alzrnews 94. 119, 1
< lanuary 19951: 1911.
Smith, Rober\a."Tour1ngthc Outer Llmltx of
the LeW\!! Sensibility." New York Times.
7 APN] \99s­
Stapen, Na11ey. “Bb119111 511| Lew1n, Mu1eu111 9l`
F1ne Arts," Almrrws 941119. 1 |]anuaryl99SJ:168
Turner, Janalhan. "Aeeun1ula1ibn1, Zlerynrhia."
ART11ew1 94,n11,9 (November 199911154
Zevi, Adaehiara, ed. Sul Lew1111 Crlrlml 711111.
Rome: L1br1 dc AFlUo, 1995
Cotter, Holland. "El Analsul and Sol L:‘Wit|."
New Fark Tirnes,5 luly 1999.
Kandel, Susan. “Lewius Paintings: A mall
df Color, Concepts." Las Angeles Tvmrs,
5 Derember 1996,
l<a1111er, Ieffrey. “Lew1n'5 w15d9rn1 The Grand
old Man of Conceptual Ar1."F91w9111, 15
March 1999,
MaeAda111, Barbara A. "Sol Lewnn A Tale of Two
sq11a1e1."ART11ew1 95, 1111, 5 llune 199111. 1111.
Sherman, Mary. “LeW|t\ llu1|d5 Arr nn l<ea~11n "
111111111 sunday Herald, <1 se,11e111l1er 19911.
srnill1,l111berla.“A self-£ffa11ng Avuwal of
Ge9111erry‘5 l>r1wer."New Ya1l< Trnres.
e February 1999,
Arnrer, Alan, "Primary 51r11e1ure1," 011111511
T1il11111e, s [une 1997.
Baker. Ke11ne1h.“LewinTurn1 ldeae 111111 Arr,"
51111 Fwrerreb sunday Exannrrer 111111 cl111r111ele.
11 l1111111ry 1997.
Balehelor, David. Mrnrmalrenr London: Tale
Gallery, 1997.
Carnper. Fred,“M9n111nen1a of Gernnerry."
Chrrrga Render. 39 May 1997
Glueck, Graee "Sol LcWin Making waye1
and se11d1ng a Me15age."New 121111 Trmen
24 August 1997.
(Jragg, l<1r11ly, “ l'l1e A11efllu1111l11y"0111111111111
7lreee-n1b1r1997.
lr1l1n111n,l<er1."s11lLew111¢ t'l1u l1a|lcrv."
M1111 Yrrl mire, 14 >l111en1l1er 1997
l<al1n11, R1chard,"Scl Lfwln 11/1re."rl11 111
111111111111 55, no. 11 (November 19971 111.
Lrn, S\even."(§e|¢‘bratlng 1l1e lfnwfr r1l`ldea1 rn
1111." <3l1111l1111el 11111111 nrlrler, 7 Februarr 19971
Rush, Mrehael “sul LeW1tl\A’all l»11111i11g1 1991"
l<e111w,1 lunr 1997.
Tuelaer, Paul l-laye1. “snl lewrnr Aee:'Al<l'111n1
911. 1111. rn e1 19971 115,
Ad111r1e,lsreelre.“‘Anyl1111lvc1111 1111 11-1
A1111 'l~l1.1r'e 1111 l=111111;"l111r1111e111 111, 1111 11
llune l995l3 S0751
lsanenl,D1y1d."wal|-nr-wall l.e\'Vitt."
51111 1-111111111-9 e1<1111111n-1, 15 lznuary 19911
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a1a11oen11v1<11
EXHIBITION HISTORY
Compiled by Susanna singer
SOI Lewitt
Bom Hanford. Conneerieur, |918
ii,F,A.. Syracuse University, i949
This doennrenn rlre yenrx roy; in reeo.
For rhe yeare rooe ru ioyo, ree Alina Legg
er nl, Sol Lewin (New rnrir The Museum
of.'\r1lrdcrnArr, 1978),
Ol1e*PefS0|\ Exhibitions
|977
srrnrrnrea, lolrn Weber Gallery, New York
lieeon Gallery, London
Geornerrre rrgnree, Konrad Fischer, nrneeldorf
Art Gallery of New sonrli Wales, Sydney
National Gallery ofvierorra. Melbourne. Anerralia
loxlvn An rlnaenrn. Omaha
ual Museum of Fine Arie. Salt Lake Giry
Torre veeelno. spolero, lralyr Galleria Marilena
sonorno, laari, lraly
uniyerairy or North Dakora Arr Gallery.
Grand rorlar
lneonrplere Open calrer, Museum nfModern Arr,
oxford, unned Kingdom
Saman Gallery, Genoa
nn and nrelnreenire Gallery Yale School of are,
New ldayen, Conn.
lneornplere Open Cubes, Prints, and Wall
ornwrngr, llniyerairy Gallery, nrnlaerer, Mara.
1975
Geonrelrre rrgnrer, izolf Prererg Gallery, aaael
Prints, Brooklyn Mnaenrn, New York
Prxnls and Drnwrngr, iolan Weber Gallery.
New York
Proreleli lylelnloaln Gallery, Washington. D.G.
nrowrnge, Mreliael Berger Gallery, Prnelnirglr
Galleria Marrlena aonornn, aan, lraly
Hallen fur lnlernanonalle Neue Kunst. Zurich
Sal LeVWt1,The Museum of Modern Ari,
New York (catalogue by Alicia Legg ei all
Traveled to the Museum of Contemporary
Arr, Monlreal: Krannert Museum of Arr.
uniyerairy of lllrnore, Glrarnpaign; Museum
of Contemporary Arn, cnieago; La lolla
Museum nf Gonlernporary Arr, Galif.
1979
Geonreirre srrnrrnrrr, lnaon Gallery, London
Konrad Fischer, Dusseldorf
Sol I.r»Wrri, New Srrurrures and Phmugrids,
ruling/Hoffman Gallery. Chicago
Galerie ryon lanrloerr, Paris
Margo loeayin Gallery, Los Aneelea
The Groprne work ofsol lei/wir, New srirain
Museum of American /ln. conn.
Rosa Esman Gallery, New York
1980
John Weber Gallery, New York
All Fuur-Parr Camblrlarioris 0/5114 Geomerlrl'
nearer. Galerie Watari, Tokyo
Galleria Marilena Bonomo, Bari, llaly
Grids and Color, Rudiger Schortle. Munich
Plrorugrids, Protetch Melnlosh Gallery.
Washington, D.G.
sol Leiwrre New Structures, Wall Drawings.
Drawings, vonng/l-loffnaan Gallery. Chicago
Ugo Ferranri Gallery llorne
Frye Arnerrean Arnrre; Arthur Dove, Milren Avery
Rulrzrl Frank, Sul Levhfh /enrr0'er Bartltti,
Akron Art Institute, Ohio
srarner ld Melodrornni, iolin welaer Gallery,
New York
Sol Levwrr; srrnrrnrer and Wall Drawings,
Texas Gallery Houston
leer
sarnan Gallery. Genoa
Galerie Yyon larnloen, Paria
Mrarnienade cornnniniry Gollege An Gallery
Miami
Larry Gagosian Gallery Los Angeles and veniee,
Calii
Sol Lewin: New srrnrvnrei; Wurks on Paper.
Dayid aellrnan Gallery. 'roronro
Mercer Union Arr Gallery. Toronlo
Proyeere Wall nrnwinge. Geamztrrr figures,
Max Proreren Gallery, New York
Sul LrWirr: Srrukruren 1973-80, Annemarie Verna,
Zurich
Konrad Fischer. Dusseldorf
Palace of Culture, Warsaw
Sol Lclfihll WnlI[1rawmgx: l968»|981. Wadsworth
Atheneum, Hartford, Conn.
sol Leilmr ser Geamerrir Figures. Real Ari Ways.
Hanford, Conn.
Paula Cooper Gallery. New rorle
Graphics r and 1, Boston
Wall Drawings and Drawings, Daniel Weinberg
Gallery, san Francisco
Phorogrrde, sririr wall Anrolriography an ine Walls
ofthe Lawcr East Side, University An Gallery,
New Mexico Stale University, Las Cruces
Wall Drawings and Drawings, Graeme Murray
Gallery. Edinlrnrgla
Van Krirnpen Gallery, Amsterdam
1952
nrowingr, David Bellman Gallery, Toronro
sol zemrr Wull Drawings, Illinois lnerinire of
Technology, Chicago
sol Levhrr: srrnrrnre, Ugo Ferranri Gallery llorne
Sul Lelwm Wall Drawings. Galleria Marllena
laonorno, Bari, Italy
William Aronuwitsch Gallery, Stockholm
Wall nrawingre sol Lemn. Rucliger Schiittle
Gallery, Munich
Banm Gallery, Milan
Baum Gallery, Brescia. lraly
Sol Leiwrr, Young/Hoffman Gallery Chicago
loiin Weber Gallery, New York
Barbara Toll Fine Arts, New York
|983
Wall Drnwinge Aqnorinrr, woode-one sereenprinre.
Galerirla Lnnd, Sweden
Wall Drawings, ugo Ferranli Galkryy lionie
Sl1lL¢lMrr. cnc. Mnaee d‘arr eonienaporain.
Bordmuxa France
/leadernra del neue /mi, renigia, lraly
C,¢l-me d’an mnumpcnin. Geneva
sol Levwrrf nrowinga worereolora. ond Prinre,
lieaon Gallery, london
sol Lemma nrree porrfoliaa, Brook: Alexander
Gallery, New York
sol zelwrn srar Prine (Matrix), uniyerairy An
Mneenrn. Universiry nf Califamia, Berkeley
sol lelwrr, cy rwornlrlye New Works, Ugo Fen-ami
Gallery, norne
locus Solus, Genoa
Pironnde, Gaueria Mario Pitmni, lzorne
mea
Wall nrowinge and Works un Paper. siedeliyle
Mneenrn, Amsterdam (catalogue by Susanna
Singer er al.)
Structures, Sledelijk Van /llaleernneenrn,
laindlroyen_ the Netherlands
Bfwkfr |963'l93J» Gallery A, Amsterdam
Wull Drawings, Gewad, Glieni, laelginrn
Wall Drawings. llanrn Rir Kunst, l-larnranrg
Wall Drawings, Annemarie verna. Zurich
Wall nrowinge, Au fond de Ia eonr a drnire,
Chagny. France
Snl Levwn Sculprunu: rose-rare, Galerie
Daniel Templnn, Parie
Skulpruren ron sol lelmn, Konrad Fischer,
Dusseldorf
Drawings, Galerie Yvon Lambert, lwarie
Wall nrowinge, Lieeon Gallery, London
sol Lelmrr, Galleria Marilena lxonorno, Bari, Italy

4/
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Works from rhe Collection ofvororhy and Herberl
Wlgel, Universiry of Michigan Museum of Arr,
Ann Arbor
Gallery Selzrrions, Hanson-Cowles Galleryn
Minnezpolis
sioo Gauery, New York
nrnwingr, Daniel Weinberg Gallery. sao Franenro
lohn Weber Gallery, New York
Cullerturf, Worcester Ar! Museum, Mass.
conrernporory colleerora, Aldrich Museum of
Contemporary Arr, Rldgelield. Conn.
me
Atypirul worke, lrrlian Prerro Gallery New York
Aapekre der ooer lohre- Aus der sarnmlnng
Reinhard Onnasrh, Narionalgalerie, Berlin
loaralognel
Book Arr, New Gallery of Contemporary Art,
Cleveland
New York Now, Mead Arr Gallery. Amherst
college, Maas.
lzerweeh Sculpture ond Parnong, Worcester Arr
Mneenrn, Marr.
coheeprnnl wnrkr by Eight Arnernnna. Johan
Preno Gallery New York
The Poerry ofsyrrerrir, laaroer Arr Gallery
California loarirore of Technology, Pasadena
Drawing the Lines, Monrelair An Morenrn, N. l.
Arr Is /or rhe spine, Paula Cooper Gallery
New York
uniyerarry of Kentucky Arr Maeeorn, Lexington
Recent workf, lohn Weber Gauery, New York
Four Major works, Yonnyl-lomnan Gallery,
Clucago
worlar an Pnpen Margo Learin Gallery,
Loa Angeles
saoo ond Under An sole, Franklin Fnrnaee,
New York
Geographir, Genohio yianahia asa., Mrlan
Yarlow/salnrnan Gallery 'roronro
rrinrr /rnrrr Poroeol wear, New Gallery of
Gonlernoorary Arl, Cleveland
Pornririg und Sculpture Today: rom. lndianaoolie
Museum of/\|1
Liaaon Gallery london
lnl<, Zurich
La lolla Mnaeani of Contemporary Arr, Calif.
Nnrrreralef lor.;-1977, Minneapolis College of
Arr and Design
Mnpped Arr: chorra, leonrrr, lzegrohr, Nohe
Gallery, New York
Arriro ofrhe seyenrier, Yarlow/salrrnan Gallery,
Toronio
Arrirrrlanoka USA, Dalhousie unryerairy Nova
seolia. Trzveled to uniyerairy of california,
lryiner Allen Memorial Arr Museum, Oberlin
college, Ohio; University of Wisconsin-Slonl,
Menomonee; l-larzford Arr sehool, Conn,
Nnmeralrr Mu1hemnrlfnlConrep1s or conlehrprrrnry
Arr, Leu Caslelli Gallery New York Traveled
ro Yale Universily Art Gallery, New l-laven;
Darrrnoorh College Gallery. Hanover. N.H.;
University Arr Gallery llnivererry of Nnrlh
Dakoia, Grand Forks; unwerarry of California,
lryine; Arr Moeeoni ofsonrh 'rerae Corpus
Chrlsll; Illinois Stale Univmlry, Normal;
Muhlenberg College. Alle-nrown, Pa.; New
Gallery nf Contemporary An, Cleveland;
Minneapolis College ofAri and Design
|979
Stulprarx' nrawrnga, Toneharone Gallery,
New York
Places ru Be; unrealrred Mrrrinrnenrnl Proyeor,
lkoaa lsrnian Gallery New York
GIld::Forma1amIlmageirl enrh cenlnry Ari,
Pace Gallery, New York
Prorperool The seyenher, Aldrreh Marenrn of
Conremporary Art, lridgeneld, Conn,
ohe Hundred New Aeqorrirrona, Brooklyn
Maeearn, New York
AlumnlArtlsrs:£xhlbl1lnn royo, Syracuse
uniyererry, New York
Drawings Abowl Drnwrrrge New nrreeriorie
rrooli-larsl, Ackland Arr cenler, Unwernry
of North carolina, chapel l-lill
A Gren1Blg Drawing show, lnrrirole for Arr and
Urban lzeaonreer, las, r, Qneenr, New York
whirney KlenrlxlzIlg79.WI1llney Museum of
Arnenean Are, New York
zhe lzednrrrre Object: A surrey ofrhe Mrnrrnol
Amhenc in :he lgoaa, Institute ol'
conrernoorary Are, lsorrnn
Pnoerne +, nayron Arr lnaornre, ohio
The Traditions o/Mihionrliern, Aldrieh Mneenrn
of conlernporary Arr,l1rdgeneld,conn.
worlo on rhe Wull, sen shahn Gallery, wilharn
Paterson College. wayne, NJ.
lzeeehr Anynirlrionrl Arnerreon Prine, The Museum
of Modern Arr, New York
cornrah College nf rhe Arla, seanle
Aehniolean Museum olArr and Arehneology,
Oxford, United Kingdom
Proeperrnr; rhe Seventies, Aldrreh Museum of
conrernoorary Art, l1id5elield,conn.
New York Now, Phoenix Arr Mnaenna, Arizona
The Mmlrvl/1lTmdll‘xclvl./\ldrlc|1 Moreoni of
conrernoorary Ari, lzrdgelield, Conn.
(catalogue by Dororhy Mayhall er al.)
Padiglione d'arre nioderna, Milan
Drnwrrrg, l-lal lsrornrn Gallery, New York
arelrnhger i, Henry slreer Settlement, New York
Arrrrlr' sookr USA, lndependenr Gnrarora
lneorporared. New York
Cenobio yinralrla. Milan
cornerr, eliae Meyer Gallery, New York
Grrdr, Eyanelon Arr Center, lll.
yard Arrrerreon zarhiliirioh, Arr lnarirore of chieago
salyarore Ala Gallery, New York
The lleorrle in lerrnw, whnney Muaeum of
Arneriean Arr, New York
LA. Lonrer Gallery, wniee, Calif
llhrh n snnle.l»1arranGoodnnin Gallery,
New York
rhrorlyh rhe snrrrrher, lreeon Gallery, London
lohrr welrer Gallery, New York
Frorn Allen lo znrker. Terar Gallery, Hrnlrron
selerrrnnr/Perrnonenl riolleoloh, l_oa Angelo,
County Mnaeonr ofArl
Malnplee. New \ork
Arrrrrr' Broke, hlopkrnl Hall Gallery, ohio sore
llniyorairy, Columbus
Pl1msvlPress Pnhlrrorronr. l=eheny sarnnel Grllerr,
London
senlprorr' plrnrogrophr, llnnler Gallery, New York.
Traveled to Maealarrer Col1ege,Sl vaol, Minn.
rironp erhrlnrioh, lohn Weber Gallery, Neo York
Super Show, Hudson River Museum, Yonkers. N,Y,
Traveled lo Cleveland Genrer for
Contemporary Art
lzeeenr Aeqnrnrlonr, Adler Gallery, l_oa Angeles
leer Frgnrnlrrrn, Mar Prorereh Gallery, New York
Group Erhrhirrorr. John weher Gallery, New York
Young/Hoffman Gallery, Glnrago
Arrlrrr lrookr, The Lrrerirl ure ofrirne, Edwin A.
ulrieh Moaeorn ofArr, wiehna srare
unirerairy, Kansas
Rosa Ernian Gallery, New York
1950
conrenrpornry nrnwrngr and worerrolorr,
Memorial Ari Gallery, Unryorairy of lzoeherrer,
New York
cnrrerrr/New lairk, Lowe Arr Gallery, syraenae,
New Yclrk
Genrer for crearive Phorography, unryerairy of
Arizona, Tileeori
Explomrmrra in :he '7os, Pllrshurgh Plan for Arr
Prmled Matrev. The Museum of Modern Arl,
New York
The Geamemr Tradition ln Amcncnn Pnlnllng.
roro-roso, Rosa Earnan Gallery, New York;
Marilyn Pearl Gallery, New York
Pier + orenrr; conarrnerron rn rhe Arr n/rhe
sererrrrer, Hayward Gallery, London. Traveled
to Rliksmuseum Kroller-Muller,Ol\erlo,rl1e
Netherlands
znrerrrorronol senlprwre fnrhrlnrron, naael
Fornrn nerrgn, lnanlor for vranelle Gearahirng,
Linz, Austria
Espasizlo/le lmcmnzlonnle d'nr|c, la Hlenmzlc
di Venezia, Venice
syrrerrr. Inquiry Tvun5ll1rl|m.Toucl\s\l:nc Gallery,
New York
snreh, Lemme, Long, sohrlhork, lasaon Gallery,
London
New Edltlans: 1980, Multiples, New York
ROSC 80, Dublin
We Mrehoel Ren colleerron ofArrrerrran Arr
rooo-roao, Melnloah/lnryadale Gallery,
waahinglon, uc.
rknlr-llvlow nlaronr 391

liluelr arid lvrnre, Thomas Segal Gallery, Boston
keeenr Work;/Gallery Arrlsrs. Iohri Weber Gallery.
New York
Pedagagirul rrrulnnorr, Stare University of
New York, old wesronry
Artist and corriem, Maoom Arr Gallery, Sheffield,
United Kingdom
Pereeivirrg Modern seulpruref Selections for the
srgrired uriu Nnrieslgrued. Grey Arr Gallery,
New York University, New York
Further furrrirure, Marian Goodman Gauery,
New York
usr Art Galleries, umverury of South Florida,
Tampa
1951
Visual Arts Gallery, Florida International
unnrersiry, Mrami
Gloria Luna Gallery. Miami
Wewpmrlr '6|: Installations, Cranbrook Academy
omrr, Bloomfield Hills, Michigan (catalogue
by Roy sladel
.Mapped Arr Charrx, Routes, Regmrrr, University
of Colorado, Boulder
seulpruree and Tnerr lzelered Druwrrrgr. Marisa
del Re Gallery New York
International Biennial of Graplne Arr. Liulrliana,
Yugoslavia
arroo' Gardens and Parks: Plans. nruwrrigs.
and Pnorogruphr, Hayden Corridor Gallery.
MIT, Cambridge. Traveled ro Museum of
Contemporary Arr, clueago
Rererri Arquorlrorrsf Drdwrrrgr, The Museum
of Modern Art, New York
New works of conrerrrpordry Art and Musre,
Graeme Murray Gallery, edinburgh (catalogue)
Muse en prere/moe err pluee/rrrise au paint. Maison
de la culture, Chalon-sur-Saune, France.
Traveled to Goin de Mrrorr. nrion, France
New Drrrrenooro in Drdwrrrg. Aldrreh Museum
of Contemporary Art, lzrdgeneld, Conn.
Artists' Bucks, Barnard College Library, New York
New Edororo, Multiples, New York
lfarlAndre, Dvnuld Iudd, Sal Lellhlt, Paula
Cooper Gallery. New York
Media Relrey lolm Weber Gallery. New York
seherrieef A lleeuue oflrrelolluriorr vrewmgn An
selnlarriorr, Elise Meyer Gallery, New York
lcatalogue lay slrelly mrel
Group Shaw, lolrn Weber Gallery. New York
Summer Group snow. Lisson Gallery, London
wesrkunrr, cologne learalognel
Dlerl Annx dl Arriva. Galleria Marilena Bonomo,
Bari, lraly
Arr in f,le_,l_, zalsnsloe Gallery, New York
(IAPS Benrfil Exhibition, Terry Dintenfass Gallery,
New York; Alan Frumkln Gallery, New York
More, Genrre Georges Pompidou, Paris
Vrrlmr es’ Arllsts' Phologmphs, Crown Point
Gallery, Oakland, Calll.
391 rxulerrl on ulsrony
1952
Sweet Art Sale, Franklin Furnace, New York
A ceroury ofmuderrr nruwrng, The Museum
of Modern Arr, New York, Traveled to British
Museum, London
Big Prints, Arts Council of Great Britain, London
(catalogue by Frances careyl. Traveled ro
Southampton Art Gallery? Dudley Cenlral
and Arr Gallery; York University /lrr Gallery;
Buddle Arts Centre: Wallsend Gallery; Cooper
Gallery. Barnsley; Wolverhampton Art Gallefyr
umred Kingdom
wh Amerrmn Exhll1rrilm,Ar\ lnslilure of Chicago
'ho-'80, Sredelijk Museum, Amsterdam
Doeumenru vu, Kassel, Germany
New Perrpeetrves, Wave Hill, Riverdale, NY
Ubjekr, Skulptlm Installation, Halalen Gr
Kamonagelerabrrk. l-lamlsurg
Summer Gruup Show, lohn Weber Galleryr
New York
Zmgemiserrrhe Kurrsr aus der Sumrnlurrg Crex,
Kunsthalle Basel
Prints by Contemporary seulprorr. Yale uniyersiry
Art Gallery, New l-raven, Conn,
Selected Druwrngr, Ben Shahn Center for the
Visual Arts, William Palerson College. Wayne,
N.I.
Arrlrrr' soolor A Survey roodroar, Ben slaalm
Center for the Visual Arts, William Paterson
College, Wayne, N.l_
Suns owe; 4 auneer rruelgumoori, Musee de
Toulon. France
Summer Graup Show. Konrad Fischer. Dusseldorf
Russian Rel/lrlurrmv ro Past Modernism: mth
Anniversary arliilrrriorr, Rosa Esman Gallery.
New York
Photographs ry Painters and Sculptors, Daniel Wolf
Gallery, New York
Pusr Mlnlmalrsm, Aldrich Museum of
Contemporary Arr. Ridgefield. Conn.
9 X 9r Galerie Hubert Winter, Vienna
Mlnimu/ism X 4: CarlAndre, Donald Iuddr
Sol Le\/Wir, RabertMnr1ls, Whitney Museum
ot' American Art, New York
Group brlolrmoru Puinrrrig. l)rnwrng,S¢14lpture.
and Prmrs, Paula Cooper Gallery New York
New York _
The Cruri/ix Show, Barbara Gladstone Gallery
zarh Anniversary rarlrrmoon ofthe vogel Collection.
Brainerd Art Gallery, State University ol New
York, Potsdam
Geometric Arr nr vusnar, Vassar College An
Gallery, Poughkeepsie. New York
lee:
nruwing conelurrorrsf A Survey ofuimerimn
Drawings rosa-rosy, Daniel Weinberg Gallery,
I/os Angeles. Traveled to Daniel Weinberg
Gallery, San Francisco
Hlarlr and while; /l Print Survey, casrelli
Graphics, New York
An Erhibitinrr uf Small Paintings. Dfawingi,
Sculptures, and Phawgraphs, Multiples,
New York
nrawingseoiregrri-zeiehuurrgen r, Annemarie
Verna, Zurich
Concepts in Construction, iyro-19611, Tyler
Museum of Arr, Tex. Traveled to Norlun
Gallery and Srjinol nf Arr, West Palm Beuhs
Fla.; Bass Museum of Art, Miami Beach:
Cincinnati Art Museum; Alberta College of
are Gallery Calgary; Norman Mackenzie Art
Gallery, University or Regina, Saslc, Canada;
Anchorage Historia] and Fine Arts Museum;
Long neaelr Museum ofarr, calir; Palm
Springs Desert Museum. Palm Spring§,(21i£;
Neulserger Museum, srare University of
New York, Purchase
Habitats, The Clodnower, New York
Arrlsrr’ Ure o/Language. Pun ll. Franklin Fun-lace,
New Yurlt
When An Becomes Book: When Books Became Art.
Annemarie Vema, Zurich
Big Pu-rurrr ley Contemporary Photographers.
The Museum of Modem Art, New York
Arrreridarr Maurer Drawing from the colleeoon.
ooreoran Gallery uf Art. Washington, D_c.
seulprurer Rxrlumi Anschwagen Mural
Broodthacrs. sol uvwo, Claes Oldenburg,
Marian Goadrnan Gallery New York
Gene Bam Collects. Bmoklyn Museum. New York
Musée dm /urgusems Toulouse, France
Pnmnng and Snalpmre, Max Pmmeh Gallery,
New York
Goin de Mimirr Ie Consortium, Dijon, France
Rhona Hoffman Gallery Chicago
Twentieth CenfuryAme11kan Wnrereolor, traveling
errlailairion organized by rlre Gallery Association
of New York State
Master Warlu of coneeprudl Arr, Paul Meena
Gallery, Cologne
rhe Sculptor as Dmfrurmn. Whitney Museum
of American Art, New York
mh Biennial ofsoalpmre. Anrwerp, Belgium
Ars 'dj Helsinki. Art Musieilm of the Ateneum,
Helsinki
Beyond rhe Plane: Amerimn Corrstmnilrrls
logo-ross. New lersey State Museum.
Trenton, Traveled to University of Maryland,
College Park
Anfar e Nuclear weapons mae, Margo leavin
Gallery los Angeles. Traveled ro Fuller
Goldeen Gallery, san Praneisoo; Munson
Gallery. sanra Pe. Delaliunty Gallery, Dallas;
Greenberg Gallery Sl Louis; lol\n Stoller,
Minneapolis; Richard Gray Gallery. Glrieagos
Barbara Krakow Gallery uosron, lirooke
Alexander Gallery, New Yorlr
Warls an Paper: /limes Bishop, Sol L¢VlEm
Reber: Mangold, lirelmed Turtle. Annemarie
Verna, Zurich
The Firrr show; Painoag and seulprure from
Eighr Collections, iaerereeo, Museum of
oonrernaorary Arr, lee Angeles
Arrworre In rhe Golleeriari af oh Loan, New warhe,
Graeme Murray Gallery Edinburgh
Alighiera soeai. sal Lewin, Giulia Paolihi, Galleria
Mario Pieruni. Rome
Changing aehihiriah, Paula Cooper Gallery,
New York
lwhrer Group erhiliinon, Pmletch McNeil,
New York
mea
le Thu a Narural Worldi, cirrue Gallery,
Loe Angeles
varreriee afsealpiaral Ideas: Drawings and
Maaaenee, Max l-lurelaineon Gauery. New York
Large Drawiagr, zillelra Gallery, Wesleyan
University, Middletown, Conn,
Arran callAgairur us, lnrerrerinori in Central
/arneriea, Paula Cooper Gallery, New york
Untitled, rosa, Mau Prorelch Gallery. New vorlr
syarr pn were Malerle, elrulprur, reelerurig and gra/ilr,
Gallerier. Lund. Sweden
from the Beginning, Prarr Grapniee cenrer,
New York
Geamzmz Arr o/rhe Twermerh Ceniury,
Kunstmusueum Bern
The Tremnine celleeriohi rwearreehecenrury
Maerere, wadaworrlr Arheneunr. l-larrford.
Conn.
The srrhan Collection, Williams Center for (he
Arre. Lafayette college, eaeron, Penn.
The Prrraie Eye; zorh cenrury Arr/earn New rarh
and canheeneui Callzcrums, Neuberger
Mueeurn. srare uniyeeeiry of New vorh,
Purchase
rlyhrpunhrere V1mlshxngPnlrlrs. Moderna Mueeer.
sroelebolin learalogue by Olle Granath el all
Arnerreari Arr sihee ioyaf ralhiing Sculpture. and
nrawingr /rarrr ihe colleerron a/rhe whioiey
Museum a/Arrierrean Arr, New rerh, la lolla
Museum of Contemporary An, calrf, leara­
loguel Traveled ro Mueeo ranrayo, Merneo
ciry; North Carolina Museum ofArl, lzalelelr;
Sheldon Meinorial An Gallery, University
or Nebraelra. l.ineoln, Genrer for llre Fine
Arts. Miami
srrralleseale Sculpture, Manlrewe l~larnllron
Gallery Philadelphia
Arrreriean Sculpture, Donald Young Gallery,
Chicago
rhe Maaern Arr li/rhe Prrnr: seleeriahe /rom the
colleerara af Lair and Miehael Tor; Williams
College Mueeurn of Arr, Williamstown, Mass.
l-lallen fur Neue Kunst, solrafflrauaen, Switzerland
shulprur im ao. /ahrhunaeri, Merianerarh of
sr, lalrob ar Basel, Switzerland
Greai American Arriern The showhegah
Gelelararion aehihiiiari. l-lirrehl sr Adler,
New Yurk
Legender, cAl>c, Mueee d'ar\ eonlernporarn,
Bordeaux, France
lnierhanohale Neue Kuaer aur aee suwirhlurig
des Migrae Gehaeeehn-hafreelzuhdee, Kunslhdus
Zurich (Catalogue by clrrbrel saueri
Arnerieah Parr-war Purim, Marilyn l>earl Gallery.
New rorle
Proyeru. worlds Faire, vlarerfrnrrre. llrrlo, and
Plaean Rhona l-lofrrnan Gallery, Glueugo
A srulpiure show, Marian Goodman Gallery,
New York
arnerieah sr-ulprure, Margo leavin Gallery.
Los Angeles
Olympian Gerrurer, lane Angeles Gourlry Muaeun-.
of An
Through the Summer: A changing eorhilhrloa,
Llsson Gallery, London
Meralr. Maauler, und Palru. Galerie Maeght
belong, New York
saulprare' vrawinge, roirerorlo. \'\i'l1ilney Muaeurr.
of American Art, New York
cirywiale coriiernporary seulpiure Eirhihirlah,
Toledo, Ohio
lvreyigurariori a'urie eolleerrori ularr earriernporarn
li Nlmzs. Galerles des Areves, Musée des beaux
ar\s de Nimes, France
Dmwxngs, Barbara Toll Flne Art, New York
From Kliuh ra Kleyer, lzoea eenran Gallery,
New York
Clearly sealed Drawings. Margarere Roeder Fine
Arts, New York
Pexnrure nlzsrrarle, ECART, Geneva
Frvm [he Callcflivrl af$vI Le\Vl!r, Universiry Art
Mueeurn, california Srare unlyereiry, Long
Beach (ca\al0gue by Andrea Miller-Keller
el al.). Traveled to Ackland Art Muaeum.
unlyereiry uf Nonla carolina, Chapel l-lille
sverbarl Mueeunr, Scranton, Pennsylvania;
Grey Arr Gallery and srudy Center, New lbrle
University, New york; Museum or Arr, Fore
Lauderdale, Fla,
Lu Grande Parade: Hryhlrghrr in Painrrrig A/rer
ioya, sredeliyle Mueeurn, Amsterdam rearalogue
by lady de Wilde)
vlewpoihii The Arne: ae Phorographer, surnrnn
Arr Center. sun-lrnir, N.l. (catalogue by Ann
Kem et al.)
1985
Drawing, Marian Goodman Gallery, New York
Galerie Schellmann Br Kluser, Munich
Quvres rnoaerrrea d'nrr eaarerhpararnr Barry
Kawnru, l.:lrVxrr, Murden. Ryman. Tnmnr.
Galerle Yvon Lambert, Paris
Drawings: Mel soehheh loharhah Borukky sal
Lemir, Elxzaherh Murray, /oel shapira. Terry
wihrerr, Daniel Weinberg Gallery, Loe Angelee
Martina Hamllron Gallery New York
Ouverture, Castello dl Rlvoli. Turin
Arr minimnll, CAPC, Musée d`ar\ comemporaln,
Bordeaux, France lealalogue by lean l/ouis
Fmment)
urawihgr hy sl-ulpiore, aroohe alexander Gallery,
New York
Mrrrirrurl Arr' A surrey of Early and Rl-r our lllrrh,
l0l\n \'\/aber Gallery, New \brk
Maderrl /lrrfnml I~rl4'illl;` ffllllllrllum, Vdablxr Arl
Gallery, voughlreepeie, New York
3 srulpiorr George crrarrrrh /ere Hrylbreiir,
SulLe\lGl1, Rosa lcwlrun Gallery, New \lJrk
seulprure, Pdula cooper Gallery, New \hrk
Area, New York
holla aperni, rurldaerorl Cara de Penaionea,
Madrid learalogue by Aurora Garrra el al l
A Sculprure Show, Marlan Goodman Gallery,
New York
The Dom Sllnw. Annlna Nnsel Gallery, New \brk
spolelo urrahra llrique; seem, Lelwrr, slhyurroe
Gnzjifhe, (Galleria Marllena Bunomo. Spoleub
lraly
Plofexx um/l Kvrlrrrulrtlm/. Kunotlerwerkxlauen,
Munleh
New lurk/New Av! Now, ARCA, Marseilles, France
learalngue lay Roger Parllraan
Canrruxrs of Form’ Gearaerrn Ahrrrnri Arr
rgra-rare, The Museum of Modern Arr,
New York
srulpnrree, rondanon carrier pour lan eonrenae
aorarn, louy en losas, France
Ayerrh, llieaerrriari, Buren, Haurhe, Keiidrrrk.
LAWN, lohn Weber Gallery, New York
A Serond Tulenl: Painters und Sfulpwrs V/Im
Are Alro Phorographerr. Aldrrelr Mureurn
of Contemporary Arr, Ridgefield, Conn,
(catalogue)
eaperlriiear hluue Lange-ao l/earr al-rare rhe Arr,
lvlueeurn Haus Ealera, Krefeld, Germany
Carnegielrrrerrrarrarral,ly1u»e~urn of Arr, came-gre
Irlsulure, Plmburgh rearaiogue by Saskla Bos
et al.)
Publxc/411 rn the Eighrier Darurhehrariari ar
selerred l-lroyeerr, larnre saohe Gallery, New \hrk
Ln eollemorl du Sledelljk Wm Abbemuseum,
Elndhovvvl, /zu nouveau musée, Le Nouveau
muaée, Vllleurbanne, France
/uns Bene/it Lrhilrriron; A selerrioa of l4brk§ an
Paper, Daniel Weinberg Gallery, l.oe Angelee
LllyerrrlyANew york Arlirlr, Unlveraily of Rhode
Island Fine Arla cenler, Krngelon (catalogue
by Aimee Brown Priee el al.>
Wm zeiehrieh; Aspelrre der Zeirhnuvxg roaoerou,
Frankfurrer Kunstverern, Frankfurt
Hoaiewarhi Palnlrhg, oealplure, and Furnrehiuge.
Holly Solomon Gallery, New York
Changing Sculprure Eahrhinori, Paula cooper
Gallery, New York
Colledurs' Chmre, Rosa Esman Gallery, New York
Ugu Ferranlr Gallery, Rome
Maier dulrrmmu, Chiesa Dei Cavalieri Ul Malta,
slraeuee, lraly lealalogue by Tornaeeo Trrni
el al.)
Dmwmgr, Barbara Toll Fine Ar\s, New York
eralalrlorl Nlsvrmv 5g3
 1986
An Anlenean llehauranre; Painring and Sculpture
/rani lean ra rhe Preeenl, Museum afArl,
Fort Lauderdale. Fla,
Drawings by srulplare. Nara Hainie Gallery.
New Yurk
Drawingr, lcnigbi Gallery/spirii Square cenier,
Charlotte, N.C.
Terr/rerrurer Peggy cyphere. Stefan Eine. Ellen
Frank, sal Levhn. Gwen Tharnae. Martin wang.
Ground Zero, New York
Canneulcut Colleftx: Amerirun Art Slnfe 1960.
Whilney Museum of American Arl, Stamford,
Conn.
Furry war; afMadern An: 1945-1985. Tale Gallery.
Llundcln
Annemarie Verna, Zurich
wbrhr on Paper Arrerhwager, lelhhn. Mangala.
Naunian. Donald Young Gallery. Gnieaga
Prine by New varlr Arran. rranewarld Arr.
Alex Rosenberg Gallery, New York
lvarerralar, Luhring Auguerine. Hodes Gallery.
New York
chairilner aarrne, Museum yan Heddandaagse
Kunei. Gliene, Belgium (catalogue)
lnerallariane and seularure, nanald Young Gallery,
Chicago
PulillcalG¢ome1r1es: Dnrllzl Buren. PzterHl1lle}q
Sherrie Let/lrle, Sul L¢Win. Bllnky Pllzlerrrw,
Rohan Ryrnan, l-lunrer Gullege Ari Gallery,
New York
Wall warlaf lady Pfa/ji sal lelhhn. Mirhael Glien
nararhea Rlxkburne, wrnan ruhen Kreyraraf
waarralra, lohn Weber Gallery New York
Painnng ana seularure raaayf raba, lnaianapnln
Nlureurn ofAr1 leaialague by Halliday T. Day
et all
Recent Vlbrlrf Dan Graham, Sol LeVWt1. Llsson
Gallery. Lnndon
Summer llrhibinan a/Drawings, Par Hearn Gallery.
New York
larain reerer. Les calleerurnr pnyeer ae auane
niarehanar ae rableauaf l, sannalrena. l<
Fueher B lsueha/berger P ¢~ M, Nahan. AlzcA,
cenire d'ar\ ennrernpnrain. Marseille. France
Hanrnrage a lleuyr, sladneelie Galerie ini
Lenbaeliaue, lylunieli
Perepeerirer; lqageiglla Painling and seulplure.
Fuller Gnlaeen Gallery san rraneirea
Changing Group Erhilunane surnrner laea,
Paula Cooper Gallery. New varle
Gnlleerian Souvenir, Nouveau Mueee. lyon, France
Philadelphia calleru An sinee iaaa. Philadelphia
lillueeurn ofArl
The law and order Show, Leo Caslelli Gallery,
barbara Gladeurne Gallery, lann Weber Gallery.
New York
rliahhr far the Meninrier, Harcus Gallery, laneran
Qeuyrer ineauer- naniel lauren, Tani Grand.
/ahnu Kaunelln. Sol Lewin. Maria Mere larure
Naunian, Galerie Roger Pailbae, Mareeille.
France
:xniairl on wlsrolw
The Purur imager Ralph Humphrey Sol bewirt
Daralhea lzaelrburne. Incl Shapiro, Christaphzr
Mlmarth, larkie mnear, Marian Lacks Gallery,
Philadelphia (catalogue by Robert Storr)
Individuals: A Selected Hxstlzryl1fCl1nt¢mpllml-y
Arr, rgagergas. Museum of canlernporary An.
Los Angeles (catalogue by Howard Singerman
el al.)
Drawings. Barbara Tnll Fine Arla, New York
Arr ynihirnal II, GAPG. Musée dan conremporain,
lanrdeaur. rranee lealalague by Michel lanurel
el al.)
Eye Leyele oaghaagle, sieaeliik van Abbeniueeuin.
Eindhoven, the Netherlands (catalogue by Piet
de lunge. ed.)
For /aeeah seuye. Editions selrellniann. New York
Lannan Museum, Lake Worlh. Fla.
|987
CarlAndre, Dlzn Flavlrl, DonaM luddr Sal LQVWH.
lzaberr Mangold. l-lealb Gallery Atlanta
A Parnrular vieianr canrernparary Drawings
from rhe lohn weber Gallery. 'rriealini Gallery
Ohio University,All1ens
The Gmzt Drawing Shaw, Michael Kohn Gallery
Los Angeles
C:1rlAndre, Dlzn Flat/in, Donald lurid. Sal MMR.
Bruce Nlzuman, Richard Semi, Daniel Templon,
Paris
1967: Ar the Crossroads, Institute of Contemporary
Arr, Pliiladelplria
No! Sa Plain Geometry, Crown Point Press.
New York
Marian Goodman Gallery New York
1987 BiennilzlErhil1irian. Wliltney Museum of
American Ari. New York
nrawinge from the calleerian a/nrrarhy and
Herbert vagel, Pennsylvania Stale llniveieiry,
Mueeurn of Arr. llniyerairy Park
werlrgruppen Arbeiren aufPapier, Galerie Nachsr
sl, sieplian, Vienna
lenseilr der Blldes; Werke van Harry ul/Wrr,
Mangold, and rurrle aur der Snmmlung Dorothy
und Herherl Vogel, New Yarlr, Kunslhalle
Bielefeld. Germany (catalogue by Erich Franz
el all
lhinaaigingi Fabra. LeWin, seuyr. Villzvaye,
Bonnefanlenmuseum, Maastricht, lhe
Netherlands
Generarianr lzfGenmeIry:Al1xt1arl Painling in _
Arneriea Since lm, wliilney Museum of
American Arr al Equitable Cenler. New York
slariane; raa nayr of Contemporary Arr in
Mnnlreal, Centre inlernatiunal d`an contempo­
rain de Manlreal (catalogue)
slrulprur Prayelrre in Manner rear. Muneler,
Germany iealalague by Marianne Brouwer
ei al.)
auth Anniversary Brhibltian, Lisson Gallery
Landon
Aspzrrs lr/Conceplulzllsm in American Work,
Avenue lx Gallery, New York
Brand New Prints IV, Marlilla Halllillnli Gallery,
New York
Primary snueruree, Rhona llalfrrian Gallery
Chicago
Malerei-wanalrnalerei. Graaer Kunalvereiu. Graz.
Auelria (catalogue by Pelzr Pakescll et aL)
seleelianr frani :be Inhn vkber Gallery New Yarlh
ray Gold Gallery, Atlanta
Callzrrion Agnes er Frits Baehr. Centre regional
d’arr eaniernpuraln Midi-Pyrenees, France
Drawing Now if sal Levlhn and Rnbcrt Mangald.
The Baltimore Museum afAr¢
oelabre der ans, Musé¢ sl. Pier-re. Lyan, France
Sol Levwn and lark Sal, Opera, Pennine. lull'
learalague by larunu Coral
Wall warhe, Garnerlnnue, Manelieem, United
Kingdom <rala|ague by Maureen Palry)
Master Anieriean Drawinge. Rosa sanran Gallery,
New York
lead, 1-lireelil sr Adler Modern, New York
Edinburgh lnrernarianab lzaaean and lznianan in
canlernpnraiy Arr. llnyal seamen Aaaderny.
Eldinbur@1 (catalogue by Douglas Hall, ed.)
Melreene wark in Pragreee. Chateau d'orian.
Grenoble, France lealalegue by Franz lcaieerl
Bvundanks, Sander Gallery. New York
Works an Paper. Tens Ganery. Huuenrn
Colasalrn Sonnabcnd, Centro de an: lleina solia.
Madrid
Daniel suren/sal zevlhrr. oenne narional dan
ennleinparain. Greuable. Fi-anae lealalueue by
sal levnul
Inside Ouzsuk An Aspen afCanr¢mpm-ary
seulprure. Museum van l-ledendaaere Kunel,
Antwerp (catalogue by lan Funnel
BBB
changing Grnap seliibirian, Paula oaaper Gallery
New York
Anierilrlralaina Nylrylaalena canlernparary
Amfrimn An, Sara Hilden Taidemllseo,
Tarnpere. Finland lealalugue by Perer
Schieldahll. Traveled to Kunsmemu Hus, Oslo
Snalpmre. Sperone Wesrwatn. New York
warln on Paper: Painnnga and Prints, lm
Knrnblatt Gallery Washington, D.C.
laea lniager Erehingr and waaalblaelee, Crown Point
Press, San Francisco and New York
Seldom Seen: Suites by Three Minimnlisisg Rirhard
Turtle, Dan Flnvin, Sol l¢Wir¢. Genuvcsle
Graphics, Boston
l0h|\ Weber Gallery New York
Rot, Gzlll, Blau, Kunstmuseum St. Gallm,
Switzerland (ratalogue by Felix Thurlemann er
al). Traveled to Museum Priderieianuun, Kauel.
Gerrnany
Annemarie Verna. Zurich
Mnslm in progrlus: Numzm due, Galleria Bonomm
Bari. Italy
Sculpture and warla an Paper. Graeme Murray
Gallery Edinburgh
Donald Young Gallery, Chicago
Collemon sennebend, cnc, l/lneee dan
contemporain, laerdeainr, Franee
Hel Meubel verbeeld-Flarnimre er An, lvlnseilrn
van llenningen, Rnleeraarn learaleene by l-lnnb
l/lane et al.)
Pyramiden/Pyramids, ICC, Berlin and Galerie
lille lcewenig, Freieben-laaelrern, Germany
learalegne by lelerniann wieelerl
Amknwa. AUr¢d /rrlstrl. Sul LzWilt, Max Pmlelcll
Gallery, New York
isles; The World e/,lvl Tedey, Mllwanleee Arr
Meleenni
zerrlee, Hamburger llabnlrnf, Berlin (catalogue
by Harald Szeemann ev al.)
Erpeelarene inlerneereviele d'arre, la Biennale
di Wvlezln, Venice
olayene, Lawrence Monk Gallery New York
aealenva, Galena lnana de Aizpuru. Madrid
wnggre in lrelie, Pinaeereea cernilnale, llavenl-la,
llaly lcalalogue by Henry Marlin)
eerh Annrverrary Group Earlnbrrien, Paula Cooper
Gallery New York
carl Andre. Deneld /ndd. sei Lelwrr, Galeria 57,
Madrid
Galleria lvlarie Pieroni, lzerne
The Turning Paine An und relrlrer in reels;
Twennerli Anniversary Exhibition, Cleveland
cerner for Contemporary Art. Traveleel re
Lehman Cullege Ari Gallery cny univereiry
er New York, Bronx
ae Cubes, Fine Arie renrer, University of
Massachusetrs. Arnberee
Grids, Fnie Arla Genrer, unrvernry nf
Massachusetts, Arnlrerar
Aeeedenne, snnnefanrenrnnaenni, lvlaaerrleln,
rlre Nellrerlanela
Blank and wlnre, Marisa del Re Gallery. New York
learalegne by sani llnnrerl
From rlre celleenen efnereelly end Herbert Vogel.
Arnar An lvlnrennr. Elmira, N_v. lealalegne
by Pamela lleeelrerl. Traveled re Grand lzaenlr
An lvlneeinn, li/lieli.; Terra lvlnaennr of
American An, Gliieage; Lanrneler Sculpture
l>arlr, sr Lanie, Me.; An Museum ar rleriaa
International univerelry, lvlianri
lzeenen avnerleeea, sala r, lznrne
Minimal ee eeneeprnel, Galerie Gabrielle lvlanbrie.
Paris
seele (Small), Rosa Eenian Gallery, New verlr
Linien:A1belten aufPapl¢1, Galerie Ralf Rickey
cblegne
cellage, The Museum of lvledern Arr, New velrlr
werla er, l-liralrlrern lvlnaenrn and senlpnire
Garden, waalringlen, nc. [catalogue by Pnyllrr
lznaenewelg er all
Three neeader; The Oliver-Hnjfmnnn cellernen.
lv/lneernn of canrerneerary Arr, cliieage
learalagne by l. Michael Danoff er all
sel Levnrr/serene selnne, lvlarla cervera Galleryr
New York
Works an Paper Irlvlmriorlul, Shea & Beker Gallery,
New York
1989
AI1sm1rrions,Tlle lvlnaenrn ofModern Arr.
New York
Capita seleere, srerleliylr Van libbennnenrn,
Elndlraven, rlre Netherlands
The Presrnfe efalerenrer New lnrlellerlenr,
Gallery dee, unrverairy uf lllineie, Chicago
learalegne by Nina relalnnl
Andre, llenya, fldvln. Kerellv. lelmn, sewn,
Langer ar Ge. Fine Ana, New York
nnreriren ledlrbew, Galerie ae Poche, Pans
lvlerhedr efnbrrvnerren, Gallery urban, New verle
Mrnnnelrrm, Tale Gallery, l.iverpeel
eee Wars efavnerreen Pernnng /mm me Geller-nerr
eyrlie wedrwerrlr alrlrenenw, Galerree larayene,
Paris
snnelnver rdeeler, Galerie Pierre l-lnber, Geneva
(catalogue by Nielrnlae llearrraaell
leepelrerem Hrreelrl sr Adler Nleelern. New vnrlr
wevla en Paper’ lzeberr Gvervener Llenelrl /add.
sez Lemrn Rvber1Mungold, lin-lrard serve,
/eel slapne, Paula Cooper Gallery, New verlr
seleered rnnlr, lareelre Alexander Edrnbne,
New York
Prrnlr by senlprera, Landfall Press, Chicago and
New York
silderrrveir, lzbineeiele l-lallr, celegne
srghrrngn Drewrnge wrrlr celer. Pralr lnenrnre,
New York learalegne by nenald Knepirl
Edition Arrelier, Grae, Anerna
Made in /lmeried, virginia Beach Genrer fer
ine Area, Virginia learalngne by walrer narby
llannard el all
wevla an Paper; leealeae, lzlrena l-lefflnan
Gallery, clrieaeb
£s:en1laIPlzimlng: Kelly Lemrr. Mangeld_ selllly,
Nelson-Atkins lvlnseinn, Kansas City, Mo
sel levmr in lraliar Complex refer ll, Gaera di
lznnarnne ai Pnglia. laan, lraly
Arrler/Designer, New York
Medevn Mnarevr 'sa l-lelnngin Taiaelialli,
l-lelainlei, Finland learalagne lo. lvlellanelerl
i Trrennal de dilanbr /can Mrve, rnnaaeie lean
Miro, Barcelona
Summer Shaw. lohn weber Gallery, Nerv York
nrreerly en rlre Wall. Laine Gernllarel Gallery.
London
A needde e/Aererrenn Drawing: lesaresg.
Daniel Weinberg Gallery, Lee Angeles
Arr in Pleree Fqfrecn l/eere e/Aeryeinrrena, wbirney
lvlnaenrn of nrnenean lirl, New York
under Pressure Western Pvrnrvnelnngfvevn the l5rlr
cenrely re the Present, cenrer fer rlre Arie, vera
seaeli, Fla, learalegue by lane Kessler el al l
elppveprrere /lrreerenenn Phatugruphyk cnvererrel
lnrpnbe, Laurence lvliller Gallery New York
(Puvves ehelaier, Galerie lenriee Navarra, Parie
learalegnel
Second lnrernenenel lrrenlrnl biennial
Einlenehrenr vwll, ldlrrrel and simnl in H1-l, Die
Deichmrhallen. l-larnbnrg. Germany lealalnene
by Harald saeenrann el al.l
l1llll!7b;er1s, erlnienv seliellrnann, New lerb
vrller neevellee; nrlnveenr preyelr, Genrre Genreea
lfnrnprdnn, Paris
Phelegrepln by Pernrevr and senlnlere Ariel/rev
Ferrer, l<areren selnlberr, lnnelan
L'/in l-eneeplnel, nne pevrpeenve, lrlnaee wan
rneaerne de la ville rle Paris learalegne by
Suzanne Page el all. Traveled le lrlneee
darr eenrernnnrarn rle lvlnnlreal 'lraveleel
as Arie eeln-eprnel, and perspernve lo Sala
de Eapeneienee ae la rnnelaerrln Gaya .le
venernnea, Madrid. As Cl1lll'ep!Ar7 sine
Pevepelrnve la lverelnnrballen, llambnrg
llrnnr' Fnrnrrnre, Harrne Gallery, Boston
Fvieenlrea. PllrllegnereeAlnerll~nn Merrmgr on
cenlevlperery Arr. Fundacan Galnnere
Gnlbenleian, Lisbon learalegne by lnelnb
lzaeri Kirebnerl
1990
Cross, Blum Helman, New York
ere Fevllen ee lleeree un Perm, srlfrilng far
konstrukllvc und konkrele Kumi, Zurich
lcalalngue by Margll Welllberg Slaber el al.)
Fleerwerler, lvlneenm ef Contemporary Art,
Lrle Angeles
lvrrrgenvrern- The Pley efllre Uneeyeble, Palaie
des bezux-arts. Brussels: \A%lner Secesslunv
V lennil
Seleflcd Arrlsrsfram the First za Years, Max
Prbrereb Gallery, New York
Minivnel wevla renwelie. Andre, Flavia, /add,
Lellmr, Leng. lzynien, lannghellnn Gallery.
New York
Canrrmporury lllnerrered lseela; vvbvd and lwrege
ree;-lesa, Franklin Pnrnaee, New varlr.
Traveled to Nelson-Alluns Museum nl' Arl,
l<aneaa Giry, lvln.; univereny er Iowa Museum
nf Ari, Iowa cily
Genrernperevy Prrnrr: lnelndrng Barth, Bochum
LeWl!\‘. Ruscha, Sultan, Vhrllers, Tomoko
Liguuri Gallery, New York
The New Classlflsm, Gallery nf the New York
Schnnl of lnrerior Design, New York
Mlrllmnllsm, Galerie Ressle. Slockholm
slrrper, Barbara Krakow Gallery, Barren.
Traveled to lolm Sloller, Minneapolis
Radrlral anfpapier, Aarganer lcnnsebanr, Aarail,
Switzerland
Affirnner end lnrerrrena seleenenr freer the Gerald
s, Ellrerr celleenen ef Genrernperevy ein, Arr
lnerilnre of Chicago learalegne by Neal lzeneera
el al.)
Qlmlntlmls: Pav! II. Annemarle Verna, Zurlch
Avnerrren Musrers efrhe ber; Early and Lele ll/evla,
Tony slrafraai Gallery, New Yerle
Num/i Ilzvorl' Aliglllem e Bnnfl, Sul Lelwrt, Marlo
Schjarm, Galleria Alereanelra lxenerne. lenrne
Luvori mlavl: Domfnlru Bianchi, Sol Le\‘hr!.
Glullo Paallnl, Galleria Ugo Fcrrami, Rome
xx Century Sculptures /rem arp le zedlnnr,
Galerie Aeadernia, salabnrg, /lnarrla
zx><lalrl°~ Nrsmnv 395

The Grill; orgarirrarirarr aria idea, Ben slralara
Galleries, william Paterson college. wayrre.
N.l.
Mirrirrralrer Prim, siieara Sheehan Gallery.
New York
The Future afilre olayeerf A Srleftlan afarrerieari
Arr, Mirarrraalrerrr aria Afrer, Gallery lieaaaiay
vara De Velde. Arrrwerp, Belgium lealalagiie
by Kenneth laalerl
Szulpture, Daniel Weinberg Gallery, sarrra lvliaiaira.
Calif.
ludd. l_eW|tt. Mangold. Martin, Stella, Perry
Riilaeriereiri Gallery. New York
Multiples, Hlrxchl Br Adler Modern, New York
Boltanxkl, Buren, Gilbert and George, Kvunelllx,
LeWllt, Long, Merz. (QAPC. Musée d`ar\
eararerraplaralaa, Bordeaux, France (catalogue
lay Mrelael laaiirel er al.)
Dan Flavln, Donald ludd, Sol LeWirt, Galerie
Anselm Dreher, Berlin
Mlnrrnalrsm, Nicola lacobs Gallery. London
/laralellarig im lrereieli rllarrrkarrierl
zerrgerreeereelre Kama im erarzriaelieri lzaarri,
Frankfurt (catalogue by Rolf Lauter et al.)
L'n Chaix d'arr minimal dans la rollerrlon Panza.
Musée dan mciderne de la ville de Paris
The Clrrlalreafr alms Priayeei; A Benefit Exhibition,
Daniel iieirrlaerg Gallery, sarila lr/lrariiea, Calif.
Ciarirerrrparary Marrer Prrrrra, Susan slieelaaia
Gallery, New York
Prrgrarrr ifrrryreriariarre, Gaarayeralea di s. Dearrieraien,
spalerra, Italy
Grrdr. vrey lsaglaerarraiari Gallery, New Yerlr
Recent Prrrrralrqarrirriarrr in Series, Barbara
Kralriaw Gallery, Boston
Sculpture and nriawrrigr, Rasa Errriari Gallery,
New York
Mrriirrialrrl virrrrr; Buyer. Lemn, Marrgiald,
clerelaria Center liar clarirerriyaiarary Arr
.Nw warlrr jar New Spares Into rlae Nrrrelres,
Wexner Center for the Visual Arts, Columbus.
Ohio
lelar. welaer Gallery, New rrarlr
Mirirmalrrm and Parr-Mirrirrralirrrrf llriawrrig
Dlsllnrtlans, Hood Museum of Art, Hanover,
NH. Traveled to Parrish Art Museum,
Southampton, N_r_
Rrpriadurad Aiarherrrir, Galerie via laiglal, Barney/s
New York, Tokyo lealalragiie by loseph l<ariilla
et al.)
r>rawirag, Gallery rea, New rarl
Le vriapliane, lvliiaee der laeawr am, Tourerairig,
Pranee
Beyond rhe Frame, RubinSpangle, New York
(ln thc Road: Fran: the Colleclxon ofthe San Diego
Miarriari, traveled la l, ll, Speed li/liireiiiaa,
l.raiii5ville_ Ky.; lvlerriiarial Arr Gallery.
Rochester, N.Y,
Arte 6 Arre, Castello di Rivoll, Turln (catalogue
lay lela Giarielli ei all
:xalairlna alsmav
An Artlst's Christmas: Holiday Images by Arneriran
Artifls 1880-1990, Midlown Payson Galleriesr
New York
The Common Wealth: Twentieth-Century
Arrierieara Mosterpieres friarrr Wrginia
Collemnns, lzraariralee ly/liiaeirrai of Pirie Arts
Visual, Tactile, and Functional: Contemporary
Furniture in Huston Galleries, Harcus Gallery
Boston lmalogue by Arlhur Dion el al.)
1991
Selections from the Permanent Colleftiun I, Wexner
Uenrer for the Visual Arts, Columbus, Ohio
Wha Framed Modern Arr. an the Quantitative L#
rfllrager llalalail, Sidney larile Gallery, New York
leaialeagiie by Triria crallirie el ala)
Falrro, Flavin. Kaunellls, LeWit1. Long, Merli
Nauvnan, SreinGladstone, New York, and
Barbara Gladstone Gallery, New York
Children in Crisis:/\ Benefit Brhibitian l7fRoekxrlg
Hiarrer, Lorence Monk Gallery New lriarlr
Srulpto1.r’DrawirrgS, lohn S\oller, Miiaireayaralia
The Pulitleal Arm, lohn Weber Gallery, New York
(catalogue lay Dennis Adams el al.)
El Sanrio de Egipm: La In/luenna del ane Egipm
en el one mnlemponinen, Centro Cultural/Arte
Contemporal-lea, Mexico City (catalogue)
Without Reality rlre craaderieee n/'Art Would lae
urrlearallr, Graeme Murray Gallery
Ediralaiirgla
La Revanche de larriage, Galerie Pierre Huber,
Geneva lealalragiie lay Dolene Airiarai-Argerieel
Iannls Kounelllx, Sal LeVHrt, Richard Lung. Mario
Mzrz, GAPC, Musee d’art contempnrain,
Bordeaux, France
Alalaul Collecting: Four Galleeriare naar Spaces,
liraririy vari de Velde, Antwerp, laelgiiim
Dlleerly on and off the Wall, Palm Beach
Community College Miiaeiirri of /lri.
Lake Worth, Fla.
A Selerrmn oflarge Srale Sfulplure, lohn Weber
Gallery, New York
Donald Young Gallery, claieagrr
American Abslmrnan at the Addison, Addison
Gallery of American Arr, Andover, Mass.
leaialragiie lay lraelr lleyriralrlal
Allan MrColIum. Sal LeVWtt, Magdalena Ielelava:
Three Rooms, Galerie Franck + Schulte. Berlin
Sol Le\fWtt, David Rabinowrtch, Ioel Shapiro, Tony
srrirrla; Sculptures, derrirrr, Galerie Pierre l-liilaer,
Geneva
New York '
Szulprure friarri /he rar, Paula Cooper Gallery
Amehwagen Baldessari, Horn, Lel/Wt, Mdinllum,
Solano, Tuttle, Galeria Weber, Alexander y
Coho. Madrid
Summer sparliglirr, Rosa Eeaaaari Gallery, New York
Masterworks r/ciariremprrrary seulprure, Pairirirag
and Drawing: The ryjos ra rlre ragga, Small
Sfulpture in an Inner Spare, Hellas Artes,
Santa Fe, N.M,
Prirale Allen, Ayerarlr. Fulton, Kerrdrielr, learn.
lzyrriara, lraliri Weber Gallery, New York
Summer Group r-;irlrilairrzrri, lohn Weber Gallery.
New York
A Group shaaw, Mai-iaai Giaradrriara Gallery;
New York
Motion and orrrarreril Seqiieriee arid rirrrei
lsadwearrl Muybruige and cearirerrrpiarary
Amenkan Plirragrrapliy. Addison Gallery of
Airierieaia Ari. Phillips /lraalerriy Ararlraver,
Mass., (catalogue lay larriee r.. slielelaari et ala).
Trayelea to National Miiaeiirri of Arrierirari
Ari, warlairigurri. nc.; Iamg Beach Miieeiirri
of Arr, Calllb; Henry Arr Gallery, ui-iiyereiry
of waelairagirrri, seanle; waaewiarui Allrerieiim.
r-rarrriara, caariiaa George rarlrraari nraiiee aria
Visual Studies wrrrlralaraya, maelaeeler. NY
Original ciapiza, laaeue Gallery. Aiielrlaiail,
New zealaaia
srl LeWin. Maaaarri Yalroyama, vrerirraa ciyera.
Adam rraee, Biz Neva Tokyu
llléme srerirale de Scuhvmre Marine Carla, mr,
Monaw (catalogue lay Pierre lzeaaaiyl
llaeramerrrplrre. Miieeiirri Kunstlerlmlonie.
namiaiaalr, Germany
Open Mira nie lemrr celleerrerr, Wadsworth
Arlierieiim. rrarrfiard, cram.
salari de lar is. Palacio de Velasqun, Medi-ia
lrirriareraaal Obkas: Works friarrr the Perariareria
caueeriar ofthe wlirlrrey Mmm iafarrierazarr
Art, wlaieriey Mraeeiirri ear/lrrierieari An
ar Feder-al lflaaa. New York (rzralogue by
lueliaril lllaieliaul
lzererrralequraanne wearke on Paper. Naliorial
uliieeiirai eamrierieara /ln, Washington. nc.
rwerrrierri ,lrrriiyerrary Exhibition. realiri Weber
Gauery, New York
Donald rarer.; Gallery, searrle
Among rraeaide Contempmury waarlre on Paper
from a Collection laararieaal by lrigelarrg aria /arr
yari dn Marelr. nerrrair lnsritule arms
A naeeiiar forArt: waaeriaalaara aria wiarlrr on Paper,
'rrariy sliarrari Gallery New York
Drawirigr. larraalre lllearariaer Gallery. New Yrrrlr
waz
Arte Amevirmm 1930-1970. Lingoro, Turin
Remote Control: Thrk Hiitofy, Palm Beach
caairirriiiriiry Gialleee Miaeerarri nfAr1, Fla..
Surface To Surfare. Barbara Krakow Gallery
Boston
Borhnen Chung, l.¢\lWI!, Primo Piano, Rome
Allegiarlee iafluiaderaaierrre ciariiaerrrprarary Driawirrg,
The Museum of Modem An, New York
(catalogue by Bernice Ruse ez al.)
"The Living Object” The An Collcctllun oflillen H.
lralrraemi, Allen Memorial An Miieeiirri, Oberlin,
Ohio (Catalogue lay Eliaabelli A. llriawril
vyrm Lambert mlleaiunne, Musee d‘arr rriraderrie
de la erariimaiaaiile urbaine de Lille, Villeneuve
avleeqe Miieee dee beaux ans de 1‘<>iireairig_
France leavaleagiiel
Iemrifer Bartlett-Sul Lelfhrt: New Prtrlts, Gallery
Koraookl, Osaka, lapan
'rwrory-1wrory¢ rwroorrh Anniversary Twentieth­
Cennny Work: on Paper, Rosa Esman Gallery,
New York
Helmut Fedrrle, Hamish Fultlm, Sal LeVWrt,
Galerie Franck + Schulle, Berlin
Pop ro Now; srlrolorlr fam the Prrmorror
Cnllertiun and Extended Loans, Williams
College Museum of Arr, Williamstown, Marr.
r5rh ,aaalyrraory lzrhrbrooo, Rhona Hoffman
Gallrry Chicago
Show of the Year. lohn Weber Gallery. New York
sammloog Lafrror. Neues Maararo wrarrblrrg,
Bremen, Germany (catalogue by Marrlo
Henrschrl)
Tram/arm; srldoujrlrrslorlpror rm ao. /ahfhaodrrr,
Krrraarhallr Baarl loaralogurl
Plarzvcrjizhrung, Sruugart, Germany maralogor
by Thomas Krllrro er all
lzrprm, Morro oaolooal de brlaa arrrs. Riu de
laneiro
De Hnnnurd 1) Bluelltz, Bibliolhéque nationale,
Paris
sprrlal collrrrioorr Thr Phorogyaphrr ovary /rom
Pop tn Now. lorrroarlorral Center or
Phorography, New York
aoolo and Parrpllor .957-rooa, Marlborough
Graphrrr, New York
Foorrrroal olajrrrr by Arorra and Arrhorrrr,
Rhona Hoffman Gallery Chicago
A New Ameritan Flug, Max Protelch Gallery,
New York
slrhop, Lrmmr, Mangold. Marttn, Wrmrr. oalrrlr
Schorlle. Yaris. Traveled to Galerie Schottle.
Munich
5éme rallrmoo. olayrrr aiwrorrr. Centre Georges
Pompidou, Paris
srrlrr and sraarorra coarrmpoorry Dmwrngs and
Prints from the Permanent Collefllon, National
Gallery of Arr, Washington. uc.
Selenium; from rhr callroroo, Thr Marraor of
Modern Art, New Vork
1993
The Gznmerrlf Tmdilllm tn Amertmn Arr
1930-r99|7,Whl!ney Moarorrr of /rrbrrlrah Arr,
New York
Eumpean and Amenrnn Dmwmgxf lgel-lysy,
Nolan/Eckman Gallery New York
Sculptures and Multiples, Brooke Alexander and
Brook: Alexander Editions. New York
Prlorr /rom rhr roooa and loyor. Paula Cooper
Gallery, New York
The Callertiun Grows: Selected Acquisrttnns
logo-rooa, /radison Gallery of American Art.
Phlllipr Aoarlrroy, Arraoyrr, Mao.
on Paper, Barbara Mathes, New York
our o[5ighr oar o/Mioal, Lisson Gallrry London
Twrory who naorrl wrwlrrrg Gallery. A srorr
ofaaoryrrrary Erhrblrroor, Daniel wriobrrg
Gallery, Santa Morrrra, Calif
Amrrrroh am or mr rolh armory: Palhlwag
and Sfulpture, Martin-Gropius-Ban, brrllh.
Traveled lo Royal Academy, Loorloo
The nrrrrrofr Anniversary loozelooaf A Legacy
and a Mandate, Newark Morrom, N.l.
PREFABJ Rrrahrlarrlrg rhr Legufy ofthe sirhra,
Rose Arr Maaroro, Brandeis lloryrrarry,
Waltham, Mass,
srrrorrgoa del srowriof ararg Harold. /oseph
Korarh, Sal Lrwm, Marlrar Oehlen, valarlo
Rrylllagigrao. sooo, Spam rraralogorl
oardaor Sfulplure (Displayed loaaool, Mar
Prorrrrb Gallrry, Nrw York
Uoragr, oalrrrr vyoo Lambert, l>arra
rallrr from Two Drradra, A/o, New York
Maloplr lmagro vhorographr Smre loo; pool
the collrrrroo. Thr Mroram ofModrro Art,
New York
Frrragaaroa nroproorg Shaw, callrry lax,
New York
Mnxwml Morwrrallww srlrrrra war/rr /row rhr
Levhtt Co/lemon, Berkshlre Museum, Pltrsncld,
Mass. Traveled ro Lyman Allro Art blorroor,
New loaooh, Conn.
Dr vrrrororlrog/Thr collrrrroo, slralrhjlr van
Abbrrrooram, Erodhoyrh, the Nrrhrrlahda
Early MlnmtnlArtMus1erwvrk§, loho Weber
oallrry, New York
Pholographlr worlo afrhr loooa and royoa,
zabrlalrar c;allrry_ Nrw vorlr
srlrrrrd wall wo,/ra. Edroooa srhrllroaorr,
New York
om Cleveland lorrraorrooa/ Drawwrg larrrwoalr,
Cleveland Ga1lery,Unl\ed Klogdom
rf Years: A lzrworproryr, Cleveland Center for
Contemporary Arr, Ohio nraralogor by
Ellen G, Iandau cr all
ar Years: Parr r. Paula Cooper clallrry, Nrw Yorlr
In ra claarrrl who worlo/rom rhr Prwoaoror
callrrrlmwhlrory Moaram of/horrrrao Arr.
New York
Ralywhalyuver: A crrraa, Morraro of
Contemporary Arr, l_oa Aogrlra. Traveled
ro Mrhrl Collecnon. Hooaroo; Solomon R.
Guggenheim Maaram. New York; Arr Tower
Miro, lapah; Pbllaorlohla Moarom of/rrr
cyorrwrgrr worlo by sol Lrlwrr ood eya Hrrar from
rhr wrarhrrrpooo collrrlroo, wrarhrrroooh Arr
Gallery, uolyrrory of North Carolina,
Greensboro
caorrrarrioo ro Process IV' My Homo is voor
Howar. /rrrlao Marrow. Loaf. Poland
On Poprr, Tzuxrl ar co, New vorlr
na; Einfnche ut dar srhwlrogr, Kooarhaor Zug,
swrrarrlarrd
Lryrra, olyrra <7 paprro lfarrorrr. Galrrrr
Narlrlo-srrla, Parlr
|994
sralprhrr, Rhona Hoffman oallrry, vhrrago
Morro srolplorr Er/olohloy, llwoa fzallrry,
London
rooo, lablohlra nalrrlr, Cologne
Porta ood Mrllwplrr, lrlarllaorolrglr uraphrra,
New York
Thr Ao or fwrwory Holoraow .llroowrob or
Hroory, lewish Marroor, Nrw \brl\
A Paolrwrg snow, Marrao ooorlroao (Gallery,
Nrw rorh
Mvrlvrvlul/1r1: Aorirr, flaw", /oalrl, lowol, lrlowlr,
Moogolll, Ryymor, lworrr A Moa uoourorol
Er/yllrlhoo Prrroorwag l-any aol: Now lvbrka,
whrrh Qursrxmt rhr cowowoo Lolo: “llfrllwolrl
Arr," Hallen fur Noor l<ohrr, srhaffhaoarrr,
swrrrrrlaha
,ao Yuurx-Ar| lo rlrr rrrrryw rrorr' Tha Alllor/rr
uarorooal Hlaowy loo.,-rooa, Aldrrrh lrloarorh
of cohrrrrrporary Arr. lzralgrnrla, Coho.
lraralogor by Brendan call rl al.)
uhorr llryrlopmrhr, bloaroha of cohrrroporary
Arr, chlrago
For 15 vom. lsroolrr /urraorlry lrrloloor,
Thr blorrarh of Modrrrr Arr, Nrw xbrlr
coorrmporary ,wrworl Awroroo Proof, Arlalraoo
Gallery <1fAmericAn Arr, Phillips Ararlrrhy,
Andover, Mars,
W/all to U/ull' Robert Barr); Dame] Buren, 501
Lrlalo, soooo Parrrrroo, /alla Rohror, lrly yan
ary srolrlrrr. Soulhamplon crry Arr callrry,
soarhahrproh. uhlrra Kingdom
Opera Calonxn’ /ahora Korahrllrr, SoILrlW1t.
vorooo .Mrarwla, /ahmr l»lroao, /ark sol. a.laoo:
uhrlrlhopry, loo Trorloff Modrro Arr, rzologor
from row Aloolarro-nrroro oflhr Aloolarr,
Galrrrr lzryrlrr, baarl lraralogorl
Thr rwrr Mrrrwg afrnr sarrr sarrrly; An Howrogr
ro Erllr soor by /ohh Cage, sarah shrrhao
Gallery, New York
Dessms raoaerooa, Marr llloodraa, Para
from Mwrwhal rn coarrplaal/arrf ubrkr from
the Dorothy oral Hrrhrrr vogrl callrrrrao,
National Gallery of Arr, \varhlogrorr, oc,
rraralogor by lnhn 1; Paolrrra rl all
Méml Si :lest In nulf, CAPC, Musée callarl
romrmporalh, Bordeaux, Frahrr
lvzrarwr par Mrarayr. Gallery ran, New York
A/U fo Santu fr; l/arm obyrrra orrlgooa by
Pamrrra am: sralplora, Laura carprorrr
Fine Arr, Santa Fe, N,M.
Papa, work lobrr wrhrr Gallery. New York
wlorr worlrr: Group Erhrhllrao, l>arr\vllormrrlh,
New York
worlo an Papro srlrrhoor from rho Prrrororm
collrrrroal/yhrrhry Museum ommrrlrah Arm,
Ncw York
somr Llkr lr cool, Barbara Krakow oallrry, Boston
Prvnts o/narlwrrrr, rogg Arr Moarom, Haryarrl
University, Barron
rx»<la|r<o~ wsronv 397
 uri ii lo plilge. Plage aes liirneauii. Plage
Nnnilarga, la Voile Range, lzarnariielle, France
srierreii warts; Daniel Weinberg Gallery,
San Francisco
Drawing Rooms' lonathan Boropkyc SolLe\'Wtf,
Rtzllard Srrro, Modern Art Museum of Forl
Worth, Tex. (catalogue by Michael Aupingl
Mapping, The lvliirenrn uf lvlinlern Art, New York
A Century afarrinr Barrie, The Miiaeiarn of
Modern Art, New York
The Box: From Durhomp to Horn. Ubu Gallery,
New York
oameanr sleganre, Locks Gallery. Philadelphia
/lnainer llimeniian; Painringr by senlpirirs.
lohn Weber Galley, New varlr
1995
New Piabltroltons, Brooke Alexander Editions.
New York
Carl Andre, Sol Lel*/lrt, Alfonso Artlaco.
Parrnoli/Naples
Drown on the Museum, Aldrich Museum of
Contemporary Arr, lziagesela. Gunn.
RAW spare, Real Ari ways, l-larrferd, Conn.
Sequence and rylamanye, siiaan Sheehan Gallery,
New York
Carl Andre, Hanrltl)arl1ul/en, Sol Lellhlt,
Lawrenee Werner- Drawings, Strurturex,
Relations. l.C,. New York
reenee and Pernaanana The Power of Blork
and White, Anderson Gallery, Buffalo, N.Y
learalrigiie by Anne Wayslon er al.)
Bern/al and Hllla Berher, Sol Lel/Wtt, Eadwzard
Mnyliriiige, /lagiaar Sander, offshore Gallery,
East l-lai-npian, N.Y.
45° :vera ea Lrngnirae if; onayrea ai la collertton
do CAPC Musée, de lo [olleftlon du FRAC
Aquitaine, et ae, rallerrirna primer, cnc,
Musee d'arr rrinrei-npnrain, Bordeaux, France
ivnnrmiiiring in Ainerira callaliarariye Prinn and
Presses 196o~lg9n, lane Voorhees Zlmmerli Arl
Miiaeiirn, Rutgers University, New lirnnawiek,
Nl learalegiie by lrayiil lvlielrenlrery et all.
*traveled ra Mary and Leigh slaelr Gallery,
Narihweaiern uniyeraiiy, ryanaian, lll.,
Museum ul' Pine Arts, Houston, National
Museum of American Art, Washington, l),C.
lultonk Shaw, Little-iohn Contemporary, New Yurk
Contemporary Drawing Exploring ine rerrinrry,
Aspen Arr Museum, Liiliiraaa
A summer Show, lvlarian Gaodinan Gallery,
New York
Adding ir np; Print Aeiyineinarn lamina,
The Museum of Modern Art, New York
r:nrpiaa drlifti, Miiaeurn van Hedendaagse Kiinrr,
Ghent, Belgium
(imap Exhllzttlon, Pacewlldenstein. New York
virw /rrini Amari, wliirney Museum of American
Art, New York
Arfumolazmnl, /an [Jll7l1ets, Sol Lellhrt. Morto
Merz. Zerynlhla, (krntrada Cervinara, Paliano,
Ilalv
rrnlolrl on Nlsrniw
New Works on Paper: Sol Le\'Wrt, Rol1:rtMangold.
Martin Puryzan Rirliant Serra, Donald Young
Gallery. Seattle
Environmental Sculptures. Kukpe Gallery, Seoul
In Two Worlds: The Graphic Work o]'Modern
Sculptors, Mead Art Miieeiirn, Amherst. Mass.
Sntperk Nest: Art thor Has Lived with Lazy
Lippani, Center fer ciiratarial siintiea and Arr
in Contemporary Culture, Bard College,
Annandale-un-Hudson, New York (catalogue
by David Frankel el all
Rewaloiien tn Caniernpararyflrir The Art of the
Sixties. Museum of Contemporary Art, Tokyo
in wanilmnlerei-wall Drawings and Wall
Paintings, Kunsllerwerkstatl Lolhringer Strasse,
Munich leaialagaei
Rerrinaidering me olrjart ri//ml rosa-i97s,
Miiaeiirn of Contemporary /ln, Los Angeles
(catalogue by Ann Goldstein ez all
Inside/Outside: From Sculpture to Photography,
Laurence Miller Gallery, New rink
winks an Paper, WP Gallery, Philadelphia
In Small Dimeneiana, Andre zarre Gallery,
New York
From Christo and ltanne-Claude to /e)?'Kamns:
/ohn Koldor Art Projerrs and Collcmoni
Mnaeiini of canreinperary Art, Sydney
learalrigne by Nicholas laaiiinel
,ld Reinhardt, Robert Ryman, Robert Mangohi,
Richard Serra, Ellsworth Kelly Sol Lelfwttf
Editions, One Great lanes, New York
Being Human, Museum of Fine Aria, Boston
1996
Main S1o1wns,Caslno Luxembourg, Luxembourg
Passions priyeee. Musee dar: inaderne de la ville
de Paris
Pacewildenslein, New York
Retrospektlv ll: Sal LeVWtt, Rlrhord Tuttle:
werire/wirrlra igayeiyay, Annemarie Verna.
Zurich
Altghtzro e Eoettl. Hamish Fulton. Sol Lellhtr,
lohn Weber Gallery. New York
Minimnlnm; wrirlra lay /ann cliamlierlain, nan
Flul/ln, Ellswfirtll Kallyq Donald /odd. Sol LrW|t1.
and Riilirri Mangiilii, Lipwnrrli lniernaiianal
Arls, Boea Raton, Fla.
D'unL' .entre luaiairr, Miieee royal de Marieinani,
Mrirlanwelr, oelgiiirn
lq76»1g96 Twenty Years in Boston-Farewell
Boston. Hella Baltimore. Thomas segal Gallery
Boston
Hare Bones, TZ'Arl & Co, New York
Thinking Print: Books /ri oillbaanla iasiH9e5,
The Museum of Modern Art, New York.
Traveled to Cleveland Center for
Contemporary Art; Henry Arr Gallery.
University of Washington, seatrle.
Ars om moo, Centro per l`arte contemporaries
Luigi Peeai, Prato. Italy
Traits senstlzles, Musée de Macon, France
learaliigiie by Monique Dargaud el ala]
Sculptors Drawings, rnraa View Gallery,
New York
Art at the End of tha mth Century Sdattarujiom
r/ie wliirney Museum ofAnlcr13“anAn’, National
Gallery, Alexandros Soulzof Museum, Athena.
Greece; Museo d’an wmemporatli. Bamdtma
aaraliigiie by Julianna Dn|dt¢r).1\~|vda‘|
as Multiple Identity Anunlranisdr: Kunst
ray,-iw aria dem vvnirney Miaieiam of
Amerium Art In Kunsunuseunul Bmln, Germany
Ertentkd Minimal, Max Proletsll Gallery
New York
lnaiagiaral Bhilrittbn, 'llminas Segal Gallnyr
Baltimore
Conceptual Tools. Selecriarufram ite lzWitt
Collection, Oetllral Com|:c\ic\|t Stale
University New Britain
Golden Oldies and New Ddighls. Pine Prilll-5.
New York
In 1h¢ Flaw: Altmiate Authwing Smtugia,
Franklin Fumane, New York
Capodtmonu in wntzmpmanea and Prospettiva
oelpaeaaniiievaricngliairenieniparnneiriella
raazalte dzlo Staleliilr Museum di Arrinerdami
capnaiinanle lvliiaenin, Naples
Limited Edition ,mme Books Sine 1990, Brooke
Alexander, New York
1991
New virrlr on Paper, Bauingai-uier Gaueriea,
waeliingran, r>_c_
Thr Pmismu of Vewn, Pun ll: Donald lvdd.
Sol le\Ml’¢. Brice Malden. Agnes Martin, Fred
Sarldbork. Barbara Krakow Gallery. Boston
sarely Made, Nnrwielr seliwl ofnn and Design,
Norfeue United Kingdom
The Power of warae and Signs. Index Gallery,
Kyutfla lapan
Gcametl1CAl7sl‘1acl‘ion: Mel Bochum Sol Lelwtr,
lmi Kno¢beL Andrew speniz, Nuinarli Galleryn
Washington, nc.
Muxlt: Alain Kinli, Sol lzlllhn. Thomas Ntlzlrnwslri.
Gallery 123, New York
Calor and wiper; van Farbrn and napizfen, Galerie
Nichst sr. sreplian, Vienna
Marginn virn Acconci, sal Le!/Wit, Gordon Mana.
Clark, Robert Smtthsan, Barban Gladstone
Gallery New York
Minimalist Prints, AR Giallnini Gallery Bulk of
/lrneriea World Headquarters, San rraneiem
Systematic, Karen McCr¢ady Fine An, New York
Skulptur Pmjelrte in Minster 1997, W|:§d§|i§d|¢§
Landesmuseum Miinsler, Germany taaralngiie
by Klaus Bussmann ei al.)
xlvll Eepnaiaiirne internaaianale anim, la Btknrmlg
dx Wrlczlh, Venice
In Visible Light: Photography and Clasitlficarion
in Am Srienre. and the Everyday, Miieerun
of lvlrniern Arr, Oxford, unitea Kingdom
(Cilahgue by Chrissie lles et al.)

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(111|1'11|11111|~, I \~1`\ \r| 4 1'|\11'1,l 111111
1>111111111111.11~ 1111111111 »1111111,1'11~111111.1111-11,
\1*11\1\rk
1\1.11111111111111,\1.111_1111111.»11111..1111.1111-111
\1111'1111
1.1111111111 11111111.11 \11.111111111.1111»11111
11111111111 1111111111111 \..111.1111,\111111111_
\|.1\~
111111111111 ,»1» 11,1 \11,111,1111111.111 1111111111 11.1111-11,
1S1»~\1>11
11111111111 111-111, 1111111111111-11111111, \1-11 1'11111\..1..
11111111 111,1<..111.111111.111111111111.1111-11,\111\'1111
I\111l1|111111lH1\111»,[1|\1|r|1\r \l111\1\,‘\1'1\ §1>1k
\11111~/111111111111 H11111 H1111 1111111 \1»1l1'\\'11111111l
11.11111111 .111 11111\1111111;111 _11111.g111»1.11»1
11..11.111\.1»1.1111111.g.,111111g1.1 1»1» 11111 \\'
11111111111 I11111 111;11l111V11 I' 11»1 11/ \\111L1r \r|
111111-11\1111111.1,11.|1\
¢1111111111_11.11»1111»11.1111-11_~..11111111111111
111111111111 111 1111111 11.11~111111
v111111,1111111111111 1111111111111 11111111 1 1111111111111
1‘1111111,111.1,111111111111 s111 111111111 1.111111
1111 1; 111111111111 11111111 1.111111 1111-17,
1.111».11.11111111., 111.1111
1111- 1111111 111111111 1111111-11 111 111111<11~111,11111 ,
1111111111111 x v
11111111 \111g111;1111111111»11,111111111111, 11111111111111111
1111- V11111111111f1111111X111p11,1,\L11¢ 1‘111111111111
,\111..1111»11,w1-11111»111_1,111111_
/111' \v111'r111111 1111111111 .~1r1m111(.14ll11Y1',
111=11 11.1111 1111111111 11111111111 111 .a111<111,111 A111
\1»11 111.111111.1.1111g11¢ by 11,1 1>111111p1 1111.1
1111111111 1111 111111111,1<111.1111111111 1111111 1..1111111_
$111114 \Inn1¢_\_l1|119
1111111111,1~11111111111 111;111,111»1¢n11 111111111
\1»11 111111
\f11~11»1,~11111~1111111111 N.1111~1~1_\1<ph111,\'1111111
1111 \1111111~111111111»1, 11111111 1.11111 1;111¢11,
\u1 imk
\111111111s11111~ 1»1-111111- 111111111 11111111 1111 111111111 1
111 \111111-111 1111x111 1111111111111-11111
3f `;.'.11~ ya 1@1~1a1d~@me ca 1995
LIST OF PLATE ILLUSTRATIONS

7ne lollowrng lrst is intenoea as a
representsttve soryey nl the artrst's
output oyer the past tour decades,
As stron, rt rnsltloes many worlrs not
leatoreo in the errhlbrtron. Those works
that were lnolooeo ln the srmoul/t
presentatlon of the errhttnttan are
aesrgnateo wltn an asterlslr t~>.
NU( all WOVKS lil (Vie eXhlh|[i0l’\ BIB
rnclooea within the soryey 7nanlrs
goto Susanna srnger chart Cnerven
ntlar lzopln. snartann whcnael ana
Theresa raoctn lor their ellnrts rn
corrlpllrng thrs lnrorntattan
FRUNIMAYYER
rrontlspieae r.° wall urawrng me
A as rn l9l,4 crnl grro coyerlng the
wall. All two-part romplnatrons or arcs
from corners and sroes. straight ann
not straight lines, systernatleally
slaclr pencrl qno. hloe crayon ares
ann lrnes
nrst orawn oy, sol Lewltt
rrrst rnstallatron: Waiker Art Center,
Minneapolis
Aprr|_ |972
collection cl the san rranttsea Moseonl
rrontlsorece s, wall Drawing :¢9l5
Arcs, circles, ana lrregtllar bands
Latex narnl
rlrst orawn ay; Dana Carlson,
ctlrrstrna tteltnlanelt, James sheehen,
snnly Ripley
rlrst rnstallallon Paola cooper Gallery,
New VDIK
S9D|9Vl’ibEr, V999
coortesy Paola cooper Gallery,
New York
e, sllrdv after l/elasotrel, less
lnt on paper
l4‘/a rr ll ln l3o2 lr 279crnl
tewrlt collettron
a. stony after ve/asqlrez, i959
lnt on paper
l4 '/a A ll in l3G2 lr 279<nll
Lewltt collection
to. stony Alter Vslasque1,l958
lnll on paper
14 Ve lr ll rn. t3e 2 >r 279 cml
Lewltt Colleclton

All works aeslqnatea as

"Lewitt Collection" are locatec
in chesten Connecticut
Note that the entrles lor the wall
drawings diverge from the standard
entry Iormat used lor the structures
and wnrks on paper. The nllmtraree
title ol each walt arawtng is lollowea py
a oescrrptwe sootltle or a set of wrrtten
instroetrons that generate the lrnage.
Dimensions hat/Q been Omilled, 35 [hey
yary lrorn rnstallatron to rnstallatron.
7ne da\e for each wall orawrnu lollows
tne record ol tts tlrst installation,
whlth IS COhS|d¢fed by lhe Ef(iSl I0 he
the "gate ol orrgrn" lor a gryen wall
orawtng. In those eases where tne lrrst
rnstallatron toolr place al the site ol the
current owner the "mst lnstallalion"
line has treen ornlttea,
ln ttte written instructions fur the wall
drawings, colors are aporevlated ln tne
following manner: "V" rs yellow, "R" ts
rea, "B" is blue, and "G" is qravr The
apnreyiatron "Acc" ana accomvanvrng
nttmlaar reler to tne loentilication
system tlseo in Sol Lewltt, Arcs, Circ/es,
and Grids (Bern and Paris: Kunstnalle
Bern and Patti Blanchlnl, 1972).
Whenever tha tltle ol an artwork velers
to snr geometric figures. those tlgoras
are as lnllowsf cnale, triangle. squarer
rectangle, paralleloqram, and trapeaolo,
All wall arawlngs are on white walls
unless otherwise indicated.
ol Modern Art- Accessions committee Ptnss
rono; gllt of Frances ano John aowes, lt. steal/A/ter ye/asauez, i955
Jean nooglas, norls ann oonalo G. l. zntlztv nluwlrtcs lnlt on paper
Fi57l!V, Suiarl and Rnhefl GVQEH, ll ‘la A lo '/a in (34 3 >r 257 trnl
Mlnn and Peter Haas, zlalne lllcreon. r. Ernbarlrarron for cytnera Lewrll collection
Maoelerne tt. ltossell, rlelen ang ta/ter watteal/l, ca leel
Charles sehwatr. and Mr. ang Mrs, cll on ranyas re. stony After veiasrzllez, l95a
Bfonki WEIKQL JV. 45 >r As ln tlzls lr l2l9 rrnl lnlr on paper
Collection ol vlto Portera, New vorlr l2r9rn t3o5r22§¢ml
rrontlsprece 1. wal/ nrawrna areal c l_ewrtt colleclron
A wall divided yertlcallv into leer eonal ef Study after Piero, i953
Squares SEPBYHIEL1 End hordeféd DY lnlt on paper rs. stony Alter reopens, l95s
Dlatk hands. Wllhln Bath Square, [Sandi 22 'la A 35 '/s ln t57,2 lr B92 cml lnlt an paper
rn one ol four orrechons, each with l.ewltt Collection l2 l/1 lr lo '/1 in tal 5 lr 267 rm:
color inlr washes soperlmposeo. l.ewltt collection
color tnlt wash 1 study a/ter Plero, |959
FIVSI dfawrl Dy! SBCVIWO Chu, lhlt on paper to l/ine, l95s
Kel T§U|lrv\UfE 22 '/e lr 35 ‘la rn, t57.2 lr 59.2 cm) Pentrl on paper
Alleost, 1993 Lewltt collection 22 '/a A 35 '/a in 4572 lr 592 cm)
collection ol the National Gallery al Lewltt collection
Art, washington. n.c.; Dorothy ana e Study after Piero, l95a
Herpert vagal collaatron. silt ol lnlt on paver ts. l/ine, i953
Dorothy and tternert vagal, rrnstees zz*/1 lr 35 'la rn. (57.2 lr 59.2 rm) Ink on paper
Lewttt collection 22 ‘/e A 35 '/a ln 4572 lr B92 cnll
rrontlspiece o wal/ nrawrng #595 l.ewltt Collection
Laapy Donpv twhlte ano ploel, s,' Study after sottlcellr, |555
Acrylic paint lnlt on paper to Drawing o/cloth, |958
rrrst orawn oy; Tim corran, 35 ‘la lr 22 ‘/e ln. (39.2 lr 57.2 cm) Pencil on paper
Lewltt collection
Ezra zlsmont, John ttogan, 22 lr 35 rn l559 lr Blwcml
Anthony sansotta_ Anel Shepard Prryote collection, New vorr
repnlary, |999 e, Stlrdv after Gnlra, |955
PHVBIE Cblltttinn lnlt on paper n Drawing or my Loft al
23 Va x 35 1/4 in, (59.1 lr Que cm) 455 w. sway ls5s
rrontlsplace a, 54 colrnnns, 1999 Lewttt collection Pencil on paper
Concrete oloalt 35 '/4 lr 23 tn. ta95 lr 5a 4 tml
rtllton County Glen lrls Pnhlla Art n Study after lngres, |955 tewitt collection
Protect, rreeoorn Parkway, Atlanta Panell on paper
23 '/a A as =/. rn, l59_l rr 90.5 cnll tu. Drawing ol stove, |955
Lewltt collertlon Pencll on paver
22 '/1 lr 35 ln t57_2 lr 55.9 cnll
Lewrlt Collection

Am
 11. E/1111.1 woaxs
19.* On/ecrivity, 1952
Painted wood
50 1 50 1 9 °/1 in 1121 1127 1 24.5 51111
Lewin Collection
111.' 171./n I-/14 1952
oil un canvas and painted wood
531/1 1 53 '/1 1 3'/1111
1151.3 1151.3 1 59 c1111
Lewin Collection
11. Rim,1960
011 nn canvas
50 1 57 1/1 111. 1152.4 1145.7 51111
Lewin Collection
11. /:un Fanning m/ue/, 1951
011 on canvas
59 1/1 1 59 1/1 1n 1151.5 11515 cn11
2s1a1e i11Ne111e Lewm. cpliecuon 51
Peeer Lewm
ze' Run /ye/low/. 1951
011 on canvas
50 1 50 1n. 1152 4 1152 4 cm)
Estate of Bella Lewin, colleccion of
Michael Lewin
24 Somersau/nnq F1qi/re, 1950
011 on canvas
52 1 42 "/111/1 /132.11105,9 cm)
LeWi!tCollec(1o/1
as. wa//unq figure, 1951
1111 on paper
12 1 5 1/1 111 130.5 1 22 2 cm/
Lewin Collection
ea! Workmq 01.¢w1ng, 1952
1111 and collage on paper
5 '/1 1 11 111. 1215 1 25.9 51111
Lew111co11ec111»n
11 seam: ngure, 1951
1n1 on paper
9 1 12 111. 122.9 1 30.5 11111
|.ew1¢1co11ec11511
za. w51/un; Drawinq. 1952
Ink and collage on paper
9 111=/1111.122.9 1 259 11111
1ewi11co11ec11o11
11. ww/11ng Drawing, 1952
1111 and c°11age on paper
5 1/1 1111/1111.122 5 1 za 3 c1111
1ew111co11ec11o11
4111 11s1 or »LAv:ll.l.us15A71n1<s
so wo//1111q Drawing, 1952
1n11 an paper
9 1115/ein 122.9 1 29,5 cnu
collecnon o1 the wnimev Museum ol
American Arr. New vpr11.n11rcr1ase,w1111
1unds 1111111 me Painnnq ana Sculpture
co1111r1/uae ana the urawinq committee
11.* wal/ Piers men/ snr/1/. 1954
Painted wuod
111 50 ’/1 1 31n (219 1154.3 1 75 51111
Collection 5| Paula Cooper. New vork
az! wall Piece /nor/1ey sn:/1/. 1954
Painted wood
50 112 1 21n.1152.4 1 30.5 1 5.1c1111
Co11ec11o11 01 me Museum ol
Fine Arcs, Museu111 of New Mexmo.
Lucv l_1DDard Colleccion
sa! wa// Piece /, 1954
Painted wood
40 115 1 2 111. 1101.5 1 45.7 1 5.1cm>
Collection ol Paula Cooper New V011
54° I/apr srrucri/re,1953
1>a1n1ea wood
12 1 45 1 3o111.11B2,9 1121.9 1 75.2 cm/
l_e‘11/in Co1lect1on
ss' wal/ Slrucrure Blue. 1952
011 on canvas and painted wood
52 '/1 1 52 l/4 1 9 “la in.
11551115511 24,5 cm)
l_eW11lCo|1e¢11o11
as 05115/e wa/1 Piefe, 1952
011 an canvas and painred wood
Two pans, each so 1 24 1101n.
H27 X 61X 254 Cm)
Lewin co11ec11o11
av wa/1 s/1011015 1953
011511 canvas ana paimea wood
52 1 52 1 25 in,
11575 1151.5 1 5: 5 c1111
coiiecnan of spnara a11111an
ae. noun/e /'/551 Structure, 1954
Painzea wooa
30 1 45 114411.
175.2 1121.9 1 355.0 c1111
neszrovea
59.* F/our Srrucfure [ws/1), 1953
Painted wood
55 1 25 1 25ln.1139.7 1 11.1 1 71.1 cm)
Lew1tlCo1|ec11n11
40. Fluor Struclure, 1965
Painted wood
96 1 96 X 48 /n.
1243.5 1 243.5 1 121.9 cm/
Collection ol w1|| lnsley, New 1/1111
41. F/our/wa# Snuclure
/re/epnm-is /:oat/1), 1954
Pa1n1ed wood
96 1 32 1 42 in. 1243.5 1 81.3 1 105.7 cm)
Co|lec\1on o1 me waiisworni Atherieum.
Haruord, Gin 01 vlrqinla Dwan
11. Muvlm-/ge 1/ 1954
Painuea wpaa wan can conipamnenis.
eafn mn¢a1n111q pnpapqrapns ny
Samara srown. Los Anqeles, and
11asn1111;|1an1s
91/1 1 10 1/1 1 95 in.
124.11 251 1 243.5 51111
Lewin coiiecnon
es-au /1/uyn1111qe L 1954
Paincea wnod w1¢11 ten comparrmenzs.
eacn fonlaininq pnozograpns ny
5ar5a1a Ernwn, Los Angeles. ana
1lasr1111ql1qms
10 1/1 1 95 1 9 5/1 in
(27.3 1 243.5 1 24.4 cm)
Lewitt co|1ec11on
111. BL//cn 5 v/1117: 012:14
cua£S.1955-1959
45' Mac1ula1 Cube, 1966; remaae |959
and 1999
Painted wood
72 1 72 1 721n.1lB2.9 1152.9 1152.9 cm/
whereabouts unknown 1e1111h111on copy)
uc Floor srriicrure 5/af/1. 1955
vainceo wood
151/1 115 1 52 in.141 1 45.1 1 205.3 cm)
cc/ilenion ol Tne National sauery 111
Arn, wasn1nq1o11, 0.0. Tne uorprny and
Hefner: Vogel cniuecnon, /xiisa Mellon
aru¢e funn. Pa1n1ns‘ vernianenz Fund.
and 0111 nl oaromv ana 1<1eroer1vooe1
41° Standing 0/wen structure Black,
1964
Pa111\ed wood (also steel version)
96 x 25'/1 1 Z5 ’/4111.
1243.8 1 54.8 1 55.4 cm)
LeWi!! Collechun
45. wa// Structure: /'ive Madules
w/rn One Cube, s/ac/1 1965
Painted wiwn
72 112 112 in. uns 1 30.5 1 20.5 ¢n11
Collection of Rouen ana synvia
manqnie, was11in1;11~/nviiie, New 1/511
45 ms: Modular sm/ezure, 1955
Painted new
10 X I4 3/A 11 ll 3/4 irl.
125.5 1 31.5 1 31.5 1111>
COIIQCIIDI1 ol MJS, Parii
Armlher Version: Paul Maenl, Bérlin
Anolher vErSi0l\ (Enamel On SIEEIIZ
54 1/1 1 95 1/1 1 95 1/1 in.
<154 1 242 1 242 11111
Cnlledion of the Neues Museum
Weiman Germany
ea wa// sznicriire 5/af/1. 1966
vainced wood
43 1/1 1 43 ‘/1 1 9 =/1 in.
1110.5 1110.5 1 23.5 cn11
Collection 1111115 Museum of Modern
/111, New Vork,Gi|ta1 Anna Legg
91' wal//Floor P1ece miree Squares).
|966
Painted steel
£acl1Sn1iare;4a14a121n.
1121.9 1 121.9 1 5.1 cm)
me VER Collecxion
52° Modular wa/l5trui:1ure.195B
saueo enamel on alummum
B8 ‘/2 1 as V1 110 in.
(224.8 11 224.8 X 25.4 cm)
Collection of virginia Dwa1\,New York
sm Wall Gr/H1 13 1 31, |996
Paimed wood 1alsn steel version)
711 711 7 in. (180.3 1180.3 1118 cm)
Colleclion ol Bernar venet. New 1/11111
an rnwr/waii amz |966
Baked enamel url Sleel
109 1/1 1 10911. 1 37 1/1 in.
12115 1 21-15 1 95.11 cinm
Collection ai nie 111 Institute 111
cnnauo. gin ni virginia mian
se Modular Cube 1969
Baked enamel nn a1u1ninun1
50 1 50 1 50 in.
(152.4 1152.4 1 152.4 un)
Collection ul :ne An sanery 111
onrario, Yorontn
/\np111e1 veisiuni erivane coilecnion,
colorado
ee Modular cube/sm, 1951;
Baked enamel on s1ee1
cuqe: 15 ‘/- 1151/1 1 15 '/1 in.
1311.1 1 3111 1 39.1 1111>
ease: '/1 1 45 1 45111.
10.5 1114.3 1114.3 en11
c11lle<111111 al the wn1111ey Museum of
Amenean 111, New 111111. 11111 01 Hawarq
ana Jean up111a11 r11u1111a11p11, l11e.
51 Mqaular Cube/Base, ca. 1911
13e11e11 enamel p11 s1eel
C1111e:13 ‘lu 113 1/1 113 “la 111,
(34 1 34 1 34 cm)
Base: ’/a 1 Au'/1 1 40 ’/4 1n.
(\11o2.2 1102.2 c1111
P111/ale callecunn
sm Cube/Base, 1959
Painreu s1ee1
Cube: 3 ‘la 1 3 ‘/1 1 3 '/1 111
113.9 1 3.9 1 5.9 em)
Base' 'le 110 110111.
10.5 1 25.4 1 25.4 cm:
E11111q11: 25
Punllsnea bv Mul1i11|es. New 111111
59. Moau/ar srrurture (flour), 1955
l>a1n1ea wooo
141 '/1 1 141 ‘/1 1 24'/1111.
1359.4 1 359.4 1 51.5
c11llec11on 111 me Neues Museum
welmar Germanv
lv. sE11lAl_ 51l1uc1u11:s
ax unmlea, 1951
Pr1n1ea a11n1111n¢erne111lur :111 e1l11l11l111n
ol 511| Lew111's wqru at 111e nwa11
Gallery, Los Angeles. Apr1l1951
14 1 14 111, 135.5 1 35,5 c1111
l_ew111 c11l1e¢l1p11
BL' SQIIEI PIO/ld #1 (ABCD), V955
ea11e11 enamel on a1unnnu1n
zo 1153 1153 111. <5o.s 1 414 1 414 enu
calleeuqn of me Museurn ul mu11er11
1111. New 111111, q1r1a111qnes Gund
11111 pure11asell>1 e1¢11a11qe1
A11q111er 11e1s1an: se11a/P111/err #1
r/:11co1 1955-ss
1aa11e11 enamel on seeel
9 '/1 1 10 1 1o111.124.11111.a 1111.5 11111
c111le1:111111 al the wesualisenes
Lanaesrnuseum 1111 Kunst una
Kunurqeschicnte Munster
11n11111er version: Sena/ P111/ee: 111
mscm, 1993
1>a1n1e11 wopa
raur bases,eac11: 33 1115 1115111,
153.13 1 292.1 1 292.1¢1n>
culleenan 111111e c1nea c11y Museum
1111\r1,c1111>a,Japa11
‘c11111a 1ers1a11111 e1n15111un
az. cube; wll/1 H11111e11 Cubes. 1911
Baked enamel on alur111nu1r1
25 1 14 '/1 1 350111.
153.5 1159.2 1 955.2 1111>
The VER Collecuen
15. Cubes wrm ~111aen Cubes, 1953
Ink on paper
12 '/1 1 25 ‘/1 1n. 1311 1 54,1 c1111
l=r1ya1e epllecllon
ee flue Cubes an rwenlysnye squares
1s111es 1ouf111r1q/earners lqufnlrrqy, 1911
Plas111
Earn <u11e: 5 1 5 1 5111
115.2 115.2 115.2 sm;
Base:\11 33 1 331n.
12.54 1 93.9 1 93,11 <1n>
cqllee111111 q1car11la1111 Ar111ur
Gulaoerq, New York
Another vers1qn :
c1111e111q11 111 1aren1a a11a Mar1le11a
l1a1111n1a. l3ar1, l1a1y
55 49 1111eesPar1 1/arlalfqns 11r1
Three D1//ereru 1111-1111 111 cubes, 1951-11
Enamel on s1eel
Earn mece 23'/1 1 a 1 5 rn
159.1 1 20.3 1 20.3 em)
c11lle1:11qn 111 the Alle11 Mer111111al
Ar1uluseur11.o11e1l111 Ca|Iege,Ur1lo
funn 1111 cun1e111porary Arc, 1912
su11seque111yers111ns 111 1111s arl1-1ur11
111slu11e11 55 yar1a1iqns rather 111a11 49
ew A/l rnree-Pan va11a111111e qn
rnree mfferenl 11111111 11/ runes, 1959
|1111 ana pene1l on paper
29 1 23 1n.1'13,1 1 59,4 1111>
Lew111c11llee11qn
e1.° 5rr1e111a11e Drawrnq rar lnfqrnpleze
open Cubes. 1914
1=r1111e11 annpu11¢emen11ur1r1e e1111l11l1p11
$111 Lewin. wal/ Drawings & srruczures:
rne 111211111111 111511 seqrnerrle
F1qures/var1a11q11s of /rrfqmp/ere open
cubes. Jo11r1 welaer Gallery. New 111111,
onqrler-1l11ve1nl1er 1914
13 113 1n. 133 1 33 e1111
Lew111 cpllee11p11
sn lnepmp/ere Open cu11e1. 1914
Pamleq 111111111 s11u<1ures 1111 a pa1111ea
wooden 11ase and 1ra1ne11 11la111fa11uf
wn11e pnq1a1;1rau11s 111111 araw1n11s
nn Daper
n1111e11s1u11s yar1a11le
c11l1e111qn 1111ne san rranelsee Museum
111 Modern Ar1. Aeeessmns cp1n1n111ee
runq: 11111 cl innly l. Carroll anu
111un1as we1sel.Jear1 ana James 5,
Douglas, Jr, Susan and Robert Green,
Eyelvn Haas, 1111111 a11a l>e1er Haas, sue
ann Haryey ~las11ne1, s1a1ne Mckeon,
the Muuern Arl c11un111. Pr1v1l1s ana
S1ua1\G,Moldaw.Cr1rls|lr1e ana M1¢r1ae1
Murray, l:1an1el1e ann srupus wa11en Jr,
and P11v1l1s wa111s
v. 111115
511. wa/lorawrnq #59
A wall u1y111e11 pv l111es 11rawnl1111n
earner 111 c11111e1 ana 1111111 s1qe1a s111e
L1r1es1nlqur 111ree11q11s 111111 a a111eren1
urreenun ana 1111111111 eaen 11al1 square
calureq penal
r1rs1qrawn 111: lmnna Vaccaro
11rs111111alla11er1-11¢e Gallery.
1qs Angeles
Nuye11111er,191o
culleenan 51ca1111lle ol1yer-H1111111a11n
111- Llnes 111 Four l11ree11qr1s 111 raur
cp/are s11per1rnp¢1;e11, February 12,
191111910
calareu 1n1 un paper
lo 114111.125.4 1 35 5 11111
l:ql1er111111 q1R1111er1an11 Syly1a
Manqala. was111nq1qny11le, New York
11. l/ernfal arm Hampnral Lrnes, 1910
|1111 1111 paper
14 Ve 1 lo ‘/a 1n. 135.9 1 25.4 em)
cu1lee111111 111 111e Museum 111 Mqqern
Arl, New vqr11, 1111111 v11lln1er Bequesl
uf wal/ nraw111q 114 (as shawn 1n rqur
sauare cprnppslle, 1911, s1l11s¢reer11
A square q1u1qeq nq111a111a1ly a1111
yer11<a1ly1111p1our equal par1s_ eae11
111111 a 111llerenl 111re¢l1p11 111 1111es
Black vensll
F1rs1qrawr1 ny; Hans Herr11a1111
ana others
F1rs1111slalla11q11:Kq11ra11 r1sr11e1
Diisse1dnr|
Apr1l, 1959
Pr11a1e cu1Iec\1nn,Pa1ls
11s1 111 1=LA1:11.Lus111n1o14s 45
15.* war/ Draw111q 1455 las shown
1n raur square c111np11s1re. 1911,
s1l11s1reen1
A square 1s arylpea 11u111en1a1ly
ana ye111<a1ly111111lqur equal 11ar1s,
eam 11111 l111es 111 111ur q1rer11er1s
suqe111npeseu pruqresswely
911111 pe1111l
11rsl urawn ny sal Lew111
Auqun, 1910
l.ew11l celle¢11u11
11° wa//oramnq :¢291as snawn
1n raur square cqrrlpfme, 1911.
s1l1s¢1een1
A square q1y1qeu m1r11an1ally and
yer11cally1n1p1qur equal parls, eaen
111111 a a111eren1 euler ann l111e 1111e¢11q11
cqlareu uensll
r1rs1qraw11 111: 5111 1ew11l
oelqner, 1959
culleeupn 5lJa11 l:11l111e1s, /1111s1erua1r1
1s.~ wan l>raw1nq #B7(as snewn
1n rqur square c111n11qs1le, 1911,
s1111sereen>
A square 111y111e11 11pr11an1ally and
yer11ea1lv1111q111ur equal narls, ea<11
111111 l1r1es ana ealars 111 1qu1 q1re1111111s
supen111p1>sea 1>1o1;11ess1ye1y
cplured 1ve11e1l
rlrsz arawn 111: 5111 Lew111
June. 1911
Lewlu cellee11a11
15 ~ wa/l Dfawrnq 1:47 1as shawn 1n
1~11111111111al c111111>p111e, 1910, s111s¢reen>
A wall 111y111e11 ye111rally1r1111l111ee11
e4luaIDa1\s,ea<h 1y11n a u1llerer1l l1ne
q1re<111111,an11 a1l eu11111111a11ons
131a»:l1 pe11e1l
r1rs1 urawn 111: nazukp 1»l1ya1n11111
June, 1910
1=r1va1e w11e111p11
11° wa/lnrawrnq r¢491as snewn
1n 1~111r1111111a/ cpmppslle lmlqn,
1910. s1ll1s1reen1
A wall n11111e11 ye111ra11y 111111 1111een
equal pans. ea<r1 1111111 a a11lerenl
l111e 111reel111n,a11p all se111u1na1111ns,
»11l11l11ur rulers
cnlqrea nencll
r1rs111rawn ay cnns Hansen,
Nma Kave1n_A1w11l1a1ns
r1rs1111s1a1la111111 111e Jew1s11 Museum,
New 1/11111
June, 1910
cqllee111111 111111e 1a1e Gallery, London
 ra- wall nrawrnp :ass (as shown
in cprnpeaile series reel al iryei,
l91l, nlmreeni
A wall ra piyrpep rnlp lpur nprizpnlal
parts, In ine wp raw are (nur equal
VSVUCB4 div\S|0fl§, ESCI1 Wllh IINES in
a plllereni pireenen. ln rne secpnp
row, an ppuple eprnpinanpns, ln :ne
lrnrp row, leur lriple eprnpinanpns.
in ine bottom row, all 'our eprnnrnanpna
suuerrrnoesep.
Black nenerl
First prawn ny: nazuup Mlvarnplp
rrrei rnelallalrpn Pnilllue env Wong
Renpenee, Geneva
Jarruarl/.1911
celleenpn el me Ar( lnalrlule pl
Chlcagu,Gl|lo1S\e|an 1. :pure
anp oael Neesen
19. Fpurfplpr Drawing rrompcsrlei, |910
Cclarea ink on paper
la 1 l1‘/a in (45.1 r 44 5 cm)
Private collecclprr
pn- All single, Double, Triple, anp
ouaprup/e Carr-lornarrpns of Lines
anp cplpr rn fpur nrrefrrans rn
one, Twnx rnree-, anp rpur-Parr
can-lplnalrpns, l91o
lnl< an paper
20 n 35 'ie in (50.8 ir 902 cm)
Priyaze eplleenpn, Paris
ei.~ Alisrnqie, lrrrunie, rriple, anp
opaprupie cprnprnarrpns p/ Ln-ree in
rpur orrerrrena in one, rap-, rnree-.
anp rpurnparr cprnlrrnarrpna (Var
center spread, prr anp Prpieemi. l9e9
ini( ana pencil an paper
(4 =/- 1 le 'ie ln (315 rr 49.5 ernl
cpllearrpn pl apselyne Chromarl swrp,
san rranelsep
az, wall Markings, l9sa
lnu on paper
lsnlsln (4os><40pcm>
wnereanpui; unknown
aa, Elan: Exams/ea irprn sei /B, l913
lnk an vaner
lo ’/A x W 'ie ln (273 rr 43 5 cm)
Cpllecnorr ol Annemarie and clarliranco
Verna, Zurlcn
04 lrsv or eLi(1:lLLpsvanlons
an wa//Drawing #24
Drawing Series a nn alurnlnunr npr
0ne series on eaen lane.
lalaen pencil, wnne palnzep aluminum npr
12 ir 4a rn (la2.9 H219 rrnr
Drawn ny: Aprran Piper
rlrai inslallalinm Dwan Gallery,
New YUVK
seuieninen less
calleenpn ol the Solomnn R.
cuqqenneinr Museum, New vark,
Panza cplleenpn, znenpep Lean
ns! Came anp Go, |969
ink on never
ls r 22 ln. (45.7 x 55.9 cm)
Lewin collection
en- wall Drawing sl; Drawing Series
ll la in s sr
slam uenerl
rirn prawn by; spl Lewin
rrral rnelallanenr Paula cpeper Gallery.
New York
onauer, lsea
l=rnrale enlleelrpn
er. wall Drawing as
A 40 rn. (loo cm)bpnl1 pl verrraal
anp unln een pl prappnal nnep
supenrnppaep, eenrerep rap ip bottom.
running ine lenuln nl ine wall.
lalaek uennrl
riral prawn ny; Hans nerrnann
anp others
Fira: rnslallarran; Konrad rieaner.
Dueeelpprl
April, |959
calleelran pl ine splernpn R.
auppennelni wlueeprn, New varu,
Panza cplleenen, Extended Loan
aa. nraqenal Linea in rwp orreenpnp,
superrrnppsep iplan /er wall Drawing,
Papla cppper sallerp New vprlri, (969
lnn anp penell pn paper
20 'ip rr 20 =/4 in (53 ir 52.1 erni
celleemrpn pl ine Museum nl
Mepern Ari, New vpru, 0.5. and
lm senesnran rppnpazrpn
pe- wall Drawing #ss
Ten lnnpeanp lines about lo in. (25.4
cm) lang, cnverlnq nie wall evenly.
lalaek penerl
rim prawn by R. lnaleernn,
Kazulnw Miyamoto
rirel lnsrallanan; Tne laykerz Gallery,
new vpn(
June, l91l
cpllenipn ul Henry s. Mellen,
Pnilapelnnra
va wail Drawing #44
snarpnl lines less lnan 10 in.
(25.4 erm lunq, not touching,
cpyering nie wall evenly.
Black penal(
mel prawn ny: Caaere, calanni,
npypnescu, Kerneny, Lanllrerl.
Pacnuernenl
run lnszallalian; vypn Larnnen
Gallery. Paris
May |910
Courtesy ol ine arms:
nl! Terr rnapsal-rp Lines Abou:
5" Long, 191|
Pencil on naner
10'/1 x lo ‘le ln. (26.7 x 26 :mi
Lewin cplleniinn
ear wall Drawing #73
Llnee npl sxrarpnl, npr touching,
prawn at ranppni, unlrarrnly plspersep
win- rnarrnrurn penslly. Covering ine
enrrre surface pi ine wall.
slack nenerl
rirsl prawn ny: snl Lewin
Maren, l91l
cplleellpn el ine Museum pr fine Arcs.
Museum pi New uernep, Lpey Lrppanp
cplleenpn
ear wail orawrrrp was
verlrpal lines, npr straight, not rpuenrnq.
unirprrnly dispersed wnn rnarnrnurn
penalry, eeverlnp me ennre survace
nf [NE Will,
Black penerl
rim prawn py: sal Lewin
rrrsl rnelallaxipn Vvon Larnnerr
oallery, Paris
May, l910
Lewin cpllearipn
an wall orawrnq #sa
1lssue naper cur inrp l 'ir rn. (15 ern;
square; anp rnserrep rncp holes in me
arav nennparp walls, All nples in me
walls are llliep randomly. lst wall: white,
2nd wall; anime, yellpw. arp wall; wnlce.
yellow, rel1.4kh wall; wrnle, yellpw.
rep, blue.
Colored tissue papers anp pray
veqnparp walls
rrrel innallannn: Tokyo lalennlal
April, (910
cpllerllpn ol me Solomon R.
Guggenheim mueeurn, New York,
Panza cpllenrpn, Extended Loan
en- wau orawinp ass
Lanes nm an-pn, npr siraiqnr, erpseirlc
anp touching, prawn at random using
ipur eplpre, uniiprrnlv plsnereep wiin
rnarinluin penslcv. :peering the ermre
surlaee pi are wall.
Colored pencil
mn prawn ay; par/ap sanulrnan
First il|S(B||ali0|\Z Solomon R,
Gugqenneim Museum, New vpril
FEhYuif% 197|
Cclledinn of DOFOINY and HKDEI1 Vogel
an wail Drawing #636
On three walls |20 in, (3018 Cm)
rea, vellowr anp mue squares, with lines,
nm lang. nel slralpm, tnuching and
crossing, prawn ar random, pnliprnrly
dispersed wlin rnanirnurn densilw
Color ink wash and lalaeu pencil
First ararrrn ivy: Mikie Hill, Richard Neuse,
Rebecca sanwan
First inszallaripnz Donald Young Gallery,
crneaqa
repruary, mo
cpunesv pl ine artist
ev war/ Drawing ssl
All areniiepxural points epnrreaep ny
slranlm lines
elue snan lrnee
nm drawn lm iz Gianni, A. Giamasco.
0, nausea
rirsr inelallanpn; uneen pi 1prinp, Turin
|910
Lewin cplleerinn
nv from the Word wr: Blue Lines
to rpur corners, Green Lines rp Four
Skies, arrp Red Lines Between the
Words “An” on me Printed Page 1912
cplnrep ink anp pencil on paper
s'/1 rr 9 ln. (21.5 ir 22.9 ern)
Lewin collenipn
an sueeessrre Rpws of riprirprrlal
Straight Lines irerrr rpp fu lmnprrr,
anp verrrral slraignr Lines irprn
Len le Rrvrri, 1912
Ink on paper
14'/e ir 14'/aiu. (36.11 x ass crm
Collection pi Lnrenen and Marilena
Bonomn. Bari, Italy
me Len; riprr1pnrall.irrea
Rfohi; venieal Lines. l912
lnlr on paper
ll ve ir ll 'ie in. (29.2 rr 292 ern;
Lewin cplueellon
1111. Alternate 5tra1ql1t, Not-Stralqnt,
and Broken Lines ol Random Lerlqtn,
rrom Me Len sine, 1972
|nl1 on Daver
11xl1in.1Z79 1 27.9 cm)
Lew1t1 Collection
1ea.- wall lzrawlng 1125
on 11>11r aoiaeenz squares, 11 one 11ne.
21 ren I1nes,3>u11e lrunqreo llnes.
41 one thousand llnes. A11 lines are
stralqnt and drawn at random
Black pencil
rlrst lnslallatlon- szaqtlsen Museum,
Leveruusen, cerlnany
Novemben 1959
collection of me mac Plearqle.
A|h|EI'\S, Ffahte
1/1.141101 cunts
lm. Larqe Modular Cube. 1959
Baker: enamel nn steel
53 11 53 1 53 ln 1150 1150 11150 :ml
Colle1:11on ul the Emanuel Hoffmann
Founnaliorl. nermanent lqan to tne
Museum nfCel1temporary Arr, Basel,
Swltzerlanq
1o¢ 3 11 3 1 3,1959-az
Bauea enamel on alum1n11r1l
175 ‘/1 11 175 '/1 1175*/1 ln.
1445.5 11 445.0 1 445.0 em1
vrluate eolleetlon, eourtesy of
Konrad Flscller, nusselaorl
111s Drawing lor Seven slruetures. 1977
|1111 on traclng paper
15 '/1 1 15'/1 111. 1311.4 11 41e ern)
whereabouts unknown
The qates of me sleel s1r11e111res ana
tnelr eelleeelpns are as 1o11owa;To1>le11:
1970. slorm nlnq Art centen new voru.
rap riqh\: 1970. centre natlonal wart el
qe culture Georges 1»11rrlp1aq11. Musée
natlonal q'ar1 rnqaerne, Pans. cen1er
1e1t=1972. Grenoble Museum, france.
Center r11;r1t:1972, Tate Gallery, Lennon.
Bottom lelt, 1972, Alhr1qt11-l1no1 Arc
Gallery. Buflalq. Bottom center: 1972.
Raussmuller Cqllectlon. Bottom rlgnt;
1972, Moaerna Museel, Stockholm,
we 1 2 1 1975
Baked enamel on alumlnurrl
IBO x 350 >r1B01n.
14572 1 914.4 11 451.2 cm1
Collertlon ol General services
A11mlr1ls11at1qr1 1G.s.A.>. Svracuse,
New York
1111 Double Modular Cube, 1969
Palnteu s1eel
120 x 53 x 531n.1304.s 11150 x 150 nml
Collection of virqlnla Dwan, New vorn
1q|. 7 Cubes Hall-0111991
Baked enamel on elumlnum
103 ‘/e 11 554 ‘/4 x15o1n.
1252.9 115572 11 3B1rm1
cnllectlan ol :ne nresuner Bank,
Franklurt
1oe.7x41<3,19s4
Bakea enamel on alumlnurn
159 1 159'/1 11 159 ‘/4 ln.
1429.3 11 430.5 11 4299 cnll
cnllectlon ol tne Walker A11 Center
Mmneauolls, walker Sneclal Purtnese
Fu11d,l9B7
1111* Four-Part Modular cube aornerl,
1975/1975
Baueo enamel on alunllnum
120 1120 1 120 ln.
1304.5 11 304.0 11 304.8 cm)
collection ol tne san Franelstn Museum
o1Mo11ern Art, TB walker rounuatlon
Fund Durenase
vl1.:1l1cs,c111cLss.sn11>s
111. wal/Drawlnq #115
circles and qrlq1/1001471
Blaen nenell
rlrsr arawn t>y:s.l<a1o
r1rstlnsralla111>n,Jol1n Weber oallery,
New vorn
seutemner, 1971
colleetlon 111 on anq Mrs. R l»1a1ll1vs,
Deurle,BeIq1u|rl
11z,° orla, arcles, Ares /rom Four Sraes
and Four corners, 1971
lnl1 on Baner
11 '/1 111'/1 ln. 125.5 11 23.5 cm)
Lewltr Collecrlorl
na. Black zflrsles. Real Grla, Yellow Arcs
tram four sldes and Blue Arcs from
raur Corners, 1972
Colored lr11< on caper
15 115 ln. 140.5 1 40.5 :ml
Lewltt culleetlorl
114. wa/l nrawlnq #105
clreles lronl me eenler o1111e wall
1Ac5 491.
slack uenell
rlrsl arawn by sol Lewltt
nuqust, 1971
colleetlon ol Lorenzo anu Marllena
Bonnrno, Barr, ltaly
11s. Wa//D/awmq #105
Ares lrom llle mlunolnls of twe slqes
o11ne wall 1AcG 51.
Black penell
rlrsl arawn t>v.sol1ew111
August, 1971
collecllon 111 Lorenzo anq lnarllena
Bonorno, Barl, ltely
v1ll.Al11:s 5 tluzs
111, wall nrawrnp me
All \W0'DEYl CONlb|Vlal10r\S 01 blue BMS
from IGYNEVS and 511125 and blue
s1ralqn1,no1s11alqnt,an11 or1>l1er1 llnes
Blue cravon
rlrsl drawn oy; e, alasl. sol tewrn,
5, »1ar11n, la son1u1>,l>,s1eqen111a1en
S Wldmef
Flril lr\§la|lall0n‘ Kur\$Utal|e EBV",
sw11¢erlan11111ep1<1ea ln 1111s pno1oqra11111
seutemoen 1912
colleetlon of tne solqnlon R
Guqqenneim Museum, New vork,
Panla C0l|eC(|0rl, C-111, |992
111 Llnes and Ares lerrnrolflon plan /or
Kunslllalle sem, swrner/ane1, 1912
1n11 on never
s Ve 112 ln 121.5 1 30.5 cm)
Culledlnn niDo1o!hV and HQYDEVK Vnqel
lla. wall Drawrnq #250
on a black wall, all lwnrpart ¢om1a1na1111ns
o1w11l1e ares from corners ann slqes.
ana white straight,rlot's\|alqht.am1
oronen llnes
wrule crayon on black wall
rlrsl drawn bv:soll_ewl1t
rlrsl lnslallatlon; San rranelseo
Museum o|Mode1r1 Art
June,1975
colleeflnn ol 7ne Museum ol Moeern
Arl, New vor11. rrarllonal 11111 111 an
anonymous aonor
ulsr ur l=tAv£lt1usrnA11o>1s 40
lla. P/an /or a wall mawlnq, 5 r.ll1./1,
July 4. 19751975
lnl1 and penrll on paper
ao 11 40 ln 175.2 11015 erm
san rranelseo Museum 01Moner11 Art,
T.E,W13lkEY F0uV7L1E\lUV7 Furld Puflthase
req. wallurawlnq 11145
All lwofpar1 eorrllnlnazlnns ol olue arts
1rnm <orners and slqes, ana blue
slralqn1,nots1ralql11,an11 broken llnes.
Blue trayon
rlrs111rawn ny la B1asl,£ Nlarlln,
la, stnlup. P 5leqen111aler,s wlanler,
Sol tewltl
Flrst lnstallallon l111ns1nalle earn,
swllzerlana
September, 1972
colleetron 111111e Solomon R
suqqennelm Mu5eu111.New voru.
Panza colleetlon 1pnotoqrepn reeoras
lnslallatlqn al Parlza celleellenl
ral. wall nrawlng 1:95
stralqnt ur noteszralgnl llnes ln (our
alrecclons or ares tonneetlnq polnls
40 ln. 11015 (ml apart
slam nenell and blue crayon
rlrst nrawn t=v:Nl.cauro11l,s.coyre,
sol tewltt, P, Mora. R saecnl, E.
splne1ll,R 1osel11,Mlml wneeler
Flrst 1ns1alla11on 711sell1oallery,Mllan
July. 1971
celleexlorl ol Mlml ana Peter Haas
ree. wall Drawn-lo 11291
A 12 ln 130 5 <r1l1qr1o wverlng the
black wa1l.w1111l11 ea<11121n,1zo,5 crm
square. a yertlaal, norlzontal, alaqonal
rlqrlt or nlaqonal le11 llne ulseetlnq
tne square. All squares are lrllea.
one nlreetlon at me llne ln earn square
ls uelermlneq by tne qra1lsr1la11.1
w1l11e :raven ana blaell nerlell qrlq
on black wall
rlrst drawn oy: unknown
rlrst rnstallatlon; Kunsenalle Basel
senrernben 1975
colle<1l11n ol tne Elmer uollnson 5s1a1e.
Har11orn

res, Wa/1 Drawing 11355
A 12 rn 130.5 rrru grra eeuerinq the
wan. within each 12 in. <20 5 erm
square, one arr trnrn the rerner
trhe direction ol the ares ana
their aiaternent are determined tw
the rtrattsrnant
White trayun ana black Pencn grid
on hiatt wah
YIVSI GVSWU by U|1kr\GWr1
F1rst1n5ta11at|on Addison caiierv
otAmencar1 Art. Phriirps Aeaeernv.
Aneeuer, Massachusetts
tteeernhen1=1a1
ceiieetian et the Museum ol
centernanrarv Art. chreage. Gerald s.
[1||O!( C0|1E(l1KlV1
tee weii orawtng #912
A 12 in, <30 5 cml qrra severing the
wa1I5,W1\h|r1 eaeh 12 in tzo 5 erm
5quare,nr1e are tretn the rerner er
the rntegetnt ot one sine 1The ttrreetien
of the ares anu their placement are
determined bv the araitsrnan.>
white rrayun ana htaetr uenen grra an
qrav waits
first erawn ht, Sachtkn che. Emily Pigiey
1une,1999
cattertren ot Barbavs ctaestene.
sag Harhun New vert
tx, 1.ocA11oN
reef rne Locatron eta Red
Paraiieieqrarn, a B/ack Ngtfstrarght
trne, a Blue Triangle, a Rea Straight
Line, 3 Ye//UW Aft, Sflda YE//UW
Peetangie, 1915
catered int ana ueneit on paper
is 1 1a rn. 145.1 1 451 emi
LeW1!\CoIIec1>on
ies, Rea Lines /rem the tewer ter:
Cerner/Blue Lines from tne Lawer
Right Cerner. 1975
Catered inn and uehetl on never
15 1115111 1313.111 3B.\cr111
Private co11ect1or1,Paris
teh' Lines to Sperm: Paints. 1975
inn and ner1c11on ve11urh_1n11 on acetate
is >r1ain.1457 1 45,7 cm)
LeW1ttCcIIe:tian
tee. Lines ta Spec//if Pmnts, 1915
ink ana gentil on ve1|urn,1n1< on acetate
15 >r1a1n,t45.1 it 45.7 crm
Lewitt Coitection
erin trst or Ptnrz tttusrnninits
tn Lines trgrn the Miagernts
al Lines, 1915
int on Mvtar
1a t1ain.145.1 ir 45.1 ern)
Cmlection n|Dan1e1J.Kramarsky
tae The Laeatren er a Line, 1915
Ink on acetate
is 11arn.145_1 1 451 trni
Lewiti Collection
rar. The teratren ol su Geametrrc
figures. 1914
int ana per1c|1on paper
22 1 ao in. 1559 r 15.2 emi
LeW1tKCnl1ecttnr1
tee-rea wait Drawing #301
The 1oca!1on of hnes ana oeernetrir
11qures.(Yhe taeahens are determined
try the ura11srnan.1
aiaeir gentrt
First arawn hy;sg1tewrtt
First rnstaitahnn; Torre veerhie.
sgetete, ttaiy
Deeerneen 1915
Courtesy of the artist
tau waiiorawing #232
Tt1e1oca!1or1 of a square.
Black geneii eeserrgtinn anrt hiaeir
crevon square
First arawn hy- M aisset, M. verrneiren.
sei Lewrtt
F1rstrnsta11et1en;Pa1ars des Deaux avls,
Erussels
Mav, 1915
tewnt caiiertren
ras. wa/1 Drawing #259
A 51n,t15.2 thu gnrt covering each at
1OUV NECK WBIIS W|'\I|€ ||V12S to DOVVIIS
on 1719 QIIUS \S(wB|1‘ 2/31l|'\ES1f0Vr\
the center zna waI1:l2lmes1rcmtt1e
niutnutnts ol each at the sutes ant wait
12 irnes trgrn each earner nth waI1:24
irnes trern the 1:er1\er,1211nes|ron1\he
rnntuernt of each ui the sides, 12 tines
from each curner,(Y11e1eng1r\ ol
the itnes antt their placement are
determtned in the ara1tsnian.>
Craven ang nenci1on hiatu wait
Firsl drawn ev' Jo Watanabe
First rnstaiiatren- netratt Institute
ot the Arts
Juiy, 1915
First rnstaitatren 41h wa14:The Museum
ul Mndern Art, New York
First arawn tw: Jo ann Ryo Watanabe
January. 1915
Collection n|!V1e whitney Museum at
Amérirarl All. NEW York, PMCNBSE, Wilh
tunes tram the Gilman reuneatien, Inc.
ren Lines from the cernen siues,
ana Center tn Pnrnts an a om 1911
cgier etehrng and auuatint
35 1 35 in. <es.e 1 as.e cm)
Collection gi the fine Arts Museums of
san rranersee, Anhenearh Foundation
for oraghie Arts, crewn Point Press
Arrhn/e Purchase, gitt ot several donors
ish- wet/ nrawri-rg 11299
the wall rs en/ieea vertreaitv inte three
equal garts. each with a ttrtierent enter.
A 5 rn. t15.2 emi gria cavevinq the watt.
ist part: on ret1,white hnes from the
niirtgernts ol eaeh sine to geints on the
grnt. zne part: Un yeitnw, white tines
treni the tenter to neints an the grin.
xrg part; on niue. white tines from the
corners to points on the grin. seen
part has an equal number ul tines.
<1ne number of itnes and their iength
are determined hy the araftsrnenm
Crayon ana pencil nn watt
Ftrsl drawn oy: Je watanatie
Firsl|11sta1|at1on,Fort werth Art
Museum, Texas
Neuerntgen 1915
Collection of Levt Strauss 5 cernnanv.
san Francisco
ree. wat/ Drawing xeeo
A 5 in. 115.2 cr1\)qr|t1 covering a yeiiew
wall, Blue tines from the ieur corners.
rea iines trern the rniapeints of the
four sides,wh1te hnes from the center
to points on the qrtd. <1he number nl
hnes anrt their iength are determined
hy the e1raitsrnan_>
neu. uiue. ana white erayen. tiiartr
pencil gnu. yellow wall
rrrst ttrawn hy: c. cieuqh and nthers
First 1nsta\latton: ttaitwaiis. suttaie,
New York
January, 1915
Private collection
x. Gt:o||E‘rn1c forms
tee. fewer rwith 12 qenrhetrre figures
and //7125 in [WD dif&‘CIf0llS), 1984
Concrete with marble ana sitiee on
S1991 Hamewnrlt
252 1 B4 it ae rn.
(540.1 X 213.4 it 213.4 Cm)
siit ul visiting Artists. inenrgaratee,
tothe citv of natennert. iewa
tee wat/ Drawing sssz
1he wen is divided vertteeliv into three
equal parts, ree. veiiew. and blue, lst
part: Un ren. white vertitai Parallel
iines, and in the centen a Square within
which are white herizentai Parattei
tines. Znd gan; Un yeiiew, white vertical
parallel irnes and in the eenten a circle
within which are white herirentan
garauet Iines.3rt1 nad: on nhre, white
vertical parallel iihes, ena in the centen
a tr1eng1e within which are white
heritantei parallel Iinea The vertical
hnes ee het enter the figure,
White erayen on rea. vethrw, ana
niue wait
first drawn try; Marianne Guntheh
new ttiggantmthani. Jn Watanabe
nay, 19111
cgtieetaen of the Wadsworth Atheneurh.
riarttera
ree wat/ vrawrng 11151
:ight geernetrre Iiqures (including
right trrangie. xt drawn with white
erayeh an a niue vaulted teiiing.
white rreyen on hiue ceriing
first arewn ey: Anthony sansetta
ana ottvers
Agni, 1991
Collection of the Pftiladelpftia Museum
e1 Art. Pttilauelnfiia. Purchased with
a grant muh the Natiunal Endowment
ter the Arts and with funds contributed
tw Mrs tt. Gates uuvn. Mn ana Mrs. N.
Rreharn when Mrs. Donald A. Petrie.
c-teen ane Peter Rnsenau. urs. melt
schaan, Franees and iaayaru Storey,
Marten aeuitan streue. ann two
anenynhsus eeners thy eirehahget.
with attnnienat tunes from nr ana Mrs.
William weigin. tne naniei w. Dietrich
foundation, ann the rriernts of the
Phitaitetvhia uiuseurn nt Art, tsaz
tee- wan Drawing 11341:
sit-hart nrawing, the wait is thvinea
herienntatiy ana vertically into sin eqttai
vans. 1st vert: On red, hiue hurituntat
parallel iines, and in the centen e circle
wtlhin which are getttrw vertical paralbel
1ines_2nn Dirt: on yeitnw, rea herieentat
parattet lines, ann in the renten 5
Wuare within whieh are etue vertical
naranei hnes. ant part: on hiue. yellow
herienntat parallel iines, and in the
centefn a triangle within which are ren
vertical parallel lines. nth part; on rea.
yellow hnfienntai naratiei lines ana in
the center a rectanqte within which
are etue vertical parallel iihes. sth hart:
On veuew. mue horizontal aarane( |ines.
ann in (he eencen a crapezain wuhrn
whren are rea ver(1<a| nara||e> (mes.
sm parm; On blue, rea herraarua( parauen
|ir1es,ann (11 the aenxen a para|(e|<>qrar1(
w1\hin whrrh are yeuew uerhsa( parallel
|u1es.(ne hn11zon!aII1r(es du nan enzer
(he figures.
cravun
mrs( arawrr ny: Jn wa(anane
rrrs( ihsra||a(1er1; Rosc, numih, |re(ana
Ju|y.195o
co||ec(1°n al the Carheq(e Museum ar
Ar1_ Prnshurqh; Museum Purrhase;
am of Caro( R. srawn ana rauuw and
A.w. Mellon Aaquisman snaewrnerr(
Fund, \9B4
ua-ua Outdonr 51ru<(ure(A Sauare
wurun whrrh Are Harrzonra( Parallel
Linea. aursraa me square Are vefheaf
Parauel Lrnes on me uzher srue:
A crrfle within which Are venrfaf
Para/le( Lines. Dutsrde (ne crre/e
Are Ha/uronral Para//el L (ne-s.1. 195(
<:onrre1e
(44 1144 1 24 1/A (n.
(355.5 1 355.5 1 62.9 cm?
<:e||e<11or1 of New Maxim State
Universny, Las Cruces
us wan orawrnq #335
On four mae# wans. whue rerhra|
para||e\ (mes, and 1n (he cehler of
(he wans, e>gh( geometnz hqures
(inr|u11(nq crass. x>. w((h1n whuh are
wnue hanLar1(a| nara|>e| hnas. the
veflltal IIVIQS do not En!!! [he liqmes.
wh(\e crayon on man( waus
rirsz urawn hr: Dana cannearn.
Jo wazahaae
F(rs1 (r1s(a11ah<>n;1_rss°n eanery. London
may. 1950
cn||e<(u>h of (he Yale aauery. Lennon
ua- war( orawrnp #243
on a mam( wan. nine qear11e(r1e hqures
((n¢|u111na rrghz (r1ana|a. cross, xx 1n
squares. The uacuqreuhus ave (mea
(rl §O||d While.
Whnte cfayon eh mam( wan
ms( drawn by1Jo warahaha
mrs( zns1a||a((an= Larry saqosrah
oauerv. veh1<e,ca|1111rrua
Decemhen 1950
Pnvate aa|(ee((an, courtesy slanaeau
rine Ar( sen/(ees, Geneva
141. Thrrteen Geamerrrc Frgures. 19511
s(ate on marble
Each i1qure;(08|h. (214.3 cr1(1hu;h
wana sneer s(a(1on, Pmsburqh
uv waunraw/ng #295
sw whi(e qearrreme hqures (au(hr1es>
sunerrmnoseu on a mark wan.
whi\e Lrayoh on black wa(|
ruse drawn uv: Chris n‘Arranqe|a.
Sn( LSWIKI
Furst 1ns(a(1a(1er1: c(arre Cowev sahery,
Los Anqeues
OIIQDEE |976
ca(|e¢1(11r1 111 (he Las Ar1ge(es County
Museum al Ar(, Los Ange(es_ Naheha(
Endowment (ar (he Arts, Modern
aru1 conzerrwarary an cauheu
(Milihmq Gran!!
ua Trra/(q/51930
(nh on paper
zz 1 zz1n (559 1 559 rrru
Lew1(1cn(1e¢her1
1517. Tfla/vglé (SU/Db/9), (950
(nk on Dipef
zz 1 zz1n,(55.9 1 55,9 urn
Lawn( cr1(|a¢11en
151. wal/ Draw/ng #294
C(rc|e (0u\I(ne).
whi(e crayon on mach wah
mrs( drawn nv: chns szuxreanqem.
sa( Lewm
Fuse 1ns(a(1a(1en- c|aue cap|ey cauery,
Los Anee|es
Oclnhen 1975
vrwaze Lu(|ac(u1n
1sz.' wa/(Dramng #3517
(sarr1e¢rre11gures arawn 1n color ana
(na(a (nh washes, each wreh a 5 1n,
(15.2 ern; nnuia (nh wash border
\r\d|5 (nk and £0101 Ink Wash
mrs( arawn by Manha nener.
Amnunv sansena, John shew
Hrs( vns(a(|a(1an, John weaer sanery,
New ‘fork
Decer1(her,(‘?BZ
Cube, Lrapeeeua, aara(|e|aqrarr(. ree1aru;|e;
cauaahen of (he hahaha( oanerv 111
Austraua, Canberra. Aus(ra(1a: an others
euurnesy of (he arus(
1” wa//Draw/ng #464
(samecrrr cube wnh yellow, rea. ana
blue supenmposed preqressn/ery
over gray on each o1Lhe(hree p(anes
on qrav baekereuna
Irvdla ml( and (Olaf Ink WSSH
Frrsl drawn 517:10 wahanahe
rusz (ns(a(|a(ren sa(er(e Maeqhl Lenena,
New vera
January.195s
caurxesv ol (he arms(
1sa, wal/ Drawrnq #354
(5ome!r(d(qu1es arawh w(Lh(n11(a
1nk wash
|1(u(a1n|< wash
nrs( arawn ny;carn(Ah11ro<L(n,
Memeh Evans
r1rs((ns1a1(a\(uh Dawn 5e((1nan oanerv.
rnrunm
March, (951
Rauss1r1u|(er cullechon
155. wa/1 Draw/ng vue(
3 rn (75 erm wuxe auzhnes Q1 (we
(sa1ne(r(¢ hqures 11rawr1(n|na1au1h
(nma (nu
mrs( drawn uv- Caro( Ahr1ru¢¢(u,
se( Lewrn. Lauren( Mazarquu
mrs( rnsLa1|a((1>n; Musee na(1ana|a'ar(
mm1erhe,Cehlre Georges »=arnp1aau,
Pans
Decernheh 19e(
caureesv n1|he arhs(
1se wa/1 nrawn-rg #374
|san1e(r1r euae.5>ae1 peneu hhes
1h (eura(re¢(1ar1s-han( verheal,
hun. verhran ana h°r(1ar1(a(.
s1ue;»7erhra1ana nach a(aqer1a(s
Black Denul
nrs( arawn uv: Marianne Gunmen
Franz 1<a1ser, Ja wazahane
nrs( (hs(a|(a1(an neeurnenna 7.
Kassel, Germany
mav. 1952
cu||erhr1n 111 Thea Westremh
ann ahah waqnen New van(
rn' wan nrawrnq #977
|sarr1e1r(r hqure w((h bazkureuhu
drawn w(1h(ines(r11r1ur arrerhans
5|a<1( penn(
rust drawn ny. Mananhe cuhcher,
Jo wananabe
First 1ns(a(|a(ian: 5anea Gauerv. muah
JuIyr19B2
cu(1e¢1ier1 111 (he san Franusru
Museum 111 maaern Arl,Y1ar((or(a\q(((
ol Thomas J. and sh1r(ey Daws
(rsr ur une 1L1usv»a1r(ows 40
1sa. Par( ala Cube, (999
Gouache on paver
60 '/1 1 92 (n (1537 1 233.7 crm
Lew(11ca((e<(ran
rss, farm Darwen /rarn a cuznr
aenanq/e. (991
Gouache an paper
ao '/1 1 92 '/1 rn ((537 1 2:14 3 cm(
LeW(fl C0\|E¢l(0n
1511. cune, 1997
Gouache un naver
eo'/1 1 so ‘/L (n (1537 1153.1 rrnu
Lewru c¢(1e¢1(an
111. wal/ nrawrnq #594
(wa runes each wuh a color homer
cauar 1n|< wash
mrs( arawn nv: Sazmko Cho,
sara zawaras, Lua Kanner
February, (999
cu(1e¢1u1r1 <11 (he naws Museum and
cu((ura| cen1er. we(1es(ev Coheue,
Massaehusens,s(((a1H0((raav
7ren(n1an nay, mass of 1957
(ae. wa/1 orawrng #525
A euue w((h (he secondarv <(1((1rs
on each mane. (he aae1qr(>un11(s gray.
Len s(ae yehaw, rea; rrqh( sme mue.
ye|(ew,1ap red, blue
ca|0r1n|r wash
rrrs( drawn bv: sarhwu chu,
Frank naw. rranwre waunru11
January, (995
ca(|efhen 01 Jenrey rraenuel.
san rranmsco
ras* wa/1 Dfawrnq #766
z11sr>rne1r1c cubes Q( varyuu; sues.
each wnh emar (hh washes
super1r11pasea
calar 1n1< wash
r1rs(urawh uv: nsaheue 5eaurnr1n(.
Anhnne 5r1nn(>rnrne.r(a~(en
Dama1rqny,Ahlr\ohy sahsaua
Hrs( (hs1a||ahan: hmm espase war(
<an¢empora(h, Pans
seu\er1mer, (994
ceunesy or (he arus(
1ea. wal/ nrawrnq #557
snr eunes an (we wa|(s (11 vanous colors
Acrvlm ua(r1(
F(1s!d1awr( ny; 5re( Nrcehweh,
John wouan, Dawn (nqen(hr(>n.
Wanq Chen Nvnama. Karrna Phunsmk.
rranme Woodruff
Nuvemben 1995
Pr1va\e mllerhon. san rrannscu

iss. Wal/ orawmq seas
Forms oerweo lronr a cube rrrawn
wrah narrow oahos ano spaces.
lnora rrhr wash
rrrsr orawh by Ahchorw sansorla
Aoous1, 1991
coneehon ol zoioro Marzoha.
villa or \lerzeqn1s,|¢a\y
iss- wal/ orawrhq #355
lsomexrlo lroures ouurnea ny 3 rn.
<15 cm)uam1s wrzhrh each plane are
3 in <15 cm) wrae olaou oahos al
parallel lrhes in ohe ol three airecilohs,
Indla 171k
rrrsr orawn oy oavro Hroornoorham,
Ahrhonv sahsona, Ja waranaoe
Flrstlr1staHet1an: Pau1a Cooper Gallery,
New V001
Ocl0ber,19El
courresy ol rhe arhsr
ro-Hoo, Wa/V Drswnnq #541
On each of loul waHs,a!l1!ealolm wllh
eolor mn washes superrmposeo rlrsi
wall- :he oarlrgrourro is GG. Len plane.
YRY:r1qh\ nIar1e:YBY.ho(\nr11 plane:
ERB. serorra wall: :he hackgrouno rs W,
Len plane; Gao; r1ohr plane; Rss. lop
n1ane,VGR,Tr1l111 waH:U1e oaelrorouho
rs RR. Left plane:GBB:1lqrlKp1ar1e'RVG;
bottom marie. csv. roirrlh wan: The
oaslrqrouhn rs sa. Lellp1ahe:GvB;
rlqVl(n1ane:GRR3!op pIar1e:YGY
color rhlr wash
rrrsl orawh hy Ahzorhe aonhomnre.
Bruno Rousselol, Anlhony Sansone
Flrsllrls!a1Ia!1nr1‘Ga|erle Vvon Lambert.
Paris
senremoer, 1991
colleerloh ol the vrrornra Museum nl
nne Arts. Rrehmonp, Museum
Purchase. The syahey ana Frances
Lewrs Enduwment ruho
rro.~ war/ nrawrrrg #552
Trllea lorms wnh eolor inlr washes
superrmooseo.
Color mu wash
Frrsn orawn oy oavro Hrqqrnhorham,
Uriaa Tay1o1,Jo waranane
Flrst1ns(aIla(<or1.Roya1Sfnltlsh
ixraoenw. sornoorqh
neeemher. lssv
Courtesv of :he arlrsl
0 1151 ur v1.A1[1LLus1nA1<oNs
111. wa/1 Drawing new
Trlrea form wrrh orrri. The oaelroroono is
RRR The lop rs sms, The nano is black.
Le!!pIal1e:YGGG,R1gr1!|z\ane:GBG.
Lascaux arrvlro parnl
rrrsz uvawn hy:Da1a rrreoman.
Thomas l»1ar1nranh.Lee soon Joo.
Mas Johr, Anthony sansoha.
Ben weaen wrllem wow
varmshea nv: John uooan
Mav. 1991
colleohon ol rhe uresaner sarrlr.
rranlrlurl
na-rar. sexrrpora rormeh<T11reo forms).
1991
1nl< on paper
rwenlyaseven draw1nq5,eac71:
11 11. ir s 1/a1n,<30.2 ir 22.1 arm
colleehoh of che wesrlalrsohes
Lahoesmuseunr lur l<rrnsl una
Kulhrroesehlrhre Muhsear/
nauerlerhoaoe oes wesffansohari
KUV1S!VEY9H'l§
102,11//Ones, Two; Three, fours,
and nr/eaparr comolnarlans ol me
aeomerrre Ffqures//'Ne oeomerrlf
rroures ano rherr comaiharlons, 1991
varnreo wood
€scr1'5 ir o ir s in (15.2 1115.2 115.2 om>
courresv ol the arhsr
rss' Forms Derrved from a Cube. 1952
Parhtea wood
5 ir 54 ir 15 lh. 115.2 x 131.2 1190.5 mv
Collecuoh u|Cam1|Ie ollver-Hoffmann
isa. war/ nrawmq #831
oeomeme lnvms
lasraux aervlro pain:
rirsl orawn oy: John 1-looan aho orhers
semenroen 1991
colleshoh ol 1he ouooehherm Museum
arloao
ras. :sol-nerrre rrgures, 19e1
las rhslallen at Paula Cooper canary,
New vork. 1901:
lriu ano penerl oh paper
zach; 19 S/s 1119 S/n rh 150 ir so cm)
various ooueehohs
isa. farm oerrveo from a Cubs, was
Baked enamel on a1um1nun1 oanal
Eazh oahe1. approxrmarely; 39 va 1 39
‘/11111100 1100 cm)
colleehon of lhe uhrversilarr Meoisoh
cehrronr, $a1tT11r11an,L1éq2,Be|qlulv1
rn- wal/ Drawrrrq #sal
Forms derived lrorn a :une
<25 varla¢1ons>.
color rhlr wash
Flrs! drawn ny: Douglas Gelqen
Teresa Lamam Anthony sarrsolca,
Rebecca srhwan. Janice shorwell.
mrohael winlounhhy
varnrsheo hy: John Hogan
Marsh. 1909
collaelroh or the Des momes Arn Center
(CoHrn rme Arts Fum1l,Des Moines, Iowa
nl. Form Derlved from 5
Cum: Rerrano'/s mens). 1991
Gouache on never
22 'le ir 29 1/1 ln, <56.5 x 15.6 :ml
Lewin collection
ln. Farm Derived /ram a
Cuhir Rectahq/e, 1991
Gouache on never
30 11 44 '/- rn, <16.2 1112.4 :mi
Collection ov me whitney Museum
ov Amerrcah Art. New York
soo Wa/l Drawing #520
Forms oerrveo 'rum more reeaaholes.
with color ihlr washes superimposed
color 1nl< wash
rrrsr drawn oy: Vransle l<r11aars.
Roy vrllevoya
rrrsl 1nstsI|atlon:GaIeria Juana oe
Aizpuru,Mad1ld
Octuhen 1959
Courtesv or the amsl
eoa. wa/1 nrawrr-ro aslz
Forms oerrveo Irom a ouorr redanole
wȢh color mu washes superunposea.
Each is ooroeren wizh a 10 rn. 125.4 mo
eonor inn wash hand.
<Al The oaolrorouna rs sv. The hand is
lm, rroh: marie; vc: sine plane; ne;
suse plane; 0. The oaelrqrouno is sw.
The hand is vv. From plane: vs; sine
plane: vw; lon Diane: 0. Two1orms.
Len lornu the oaeuqrouno rs sa. vhe
nano is c. Front plane: vov; sine plane:
GR; rop mane: ww. mom lnrm: 1he
uaohorouno is ma. The nano rs o. Front
plane: vsv; sroe plane; sv; luv plane:
ac. <01 The oaehqrouna is nm The haha
rs sa, Front plane: 11011; sine plane;
ave; 1ou ulahef ala.
color inlr wash
rrrsl drawn oy; Mary Del Mohleo.
Douglas celqer, Jackie ulenllvsnen
Janet Passehl, Arrchonv sansona
July. 1959
Collection nl the wausworlh Axheneum
Harrloru
sos: wa/1 nrawfrla use
asymmenrieal pyramid win- color lnll
washes superimlwsed. The ave: is 1en.
The oaalrorouno is 1 rave side:
111; von; 121: vc; ral: vu: ral; vas;
rs): oslvss.
Calor ink wiih
Fits( Maw" DY! David Hiqqinbulhim,
Anthony SEHSOKG, JD WBCBIIBBE
FIVSI inilallalinnf Brooklyn MUSQUIII.
New Vdrk
Mav, less
LeWi(( Ouiletlinn
eos' Wa/I vrawrnq M71
Asymrhelrieal pyramrn wirh color lnlr
washes super-imposed.
color lnlr wash
rrrsz drawn Irv: David Hrggrnuorham.
Tony Tassel
rlrsz insrallallohr nelso. me.. Chicago
march, 1906
Prrvale eolleohoh
eos wal/ orawlhq xsls
synimenrleal Ilatftonped pyramids with
eosor rnk washes suoerrrhuosea. eaeh
wnh a 1 1/a ah. <20 :ml olaolr oorneh
color ina wash
Hrs! drawn 1w:Jearr-Jaeaues
sauweraens. semaha du chamoon.
chrisuwhe cuzin. Pierre rilrnui.
Davie r1rqqrhho\haih.clauoe Picard,
Brunn nousseloz. Anlhohy sahsrma.
Marien sehouzeh. Ja warahahe
rarsx rhsrallanoh: Arc, Musée d‘ar!
moaerne de Ia ville ne Paris
reoruarv. 1901
colnechoh af che Leipsiger Messe,
Leinzio. Germanv
me Wall Drawing 8498
rlanonlaen wramiu wich eolor ihlr
washes superimposed. The background
is GRGRR. The (UD is YGER. Three sides:
111: vos; 121: vas: <a1= new
color 1nl< wash
Firsl drawn by; Douglas Beige;
David hroqlnhoaharn, xaauuo
mwanioeo Anthony sansrma.
neoeeoa Schwab. Susanna srhoeh
1<el Tsuiirhura, .lo Watanabe
First rns¢al1a1lon= The nrawlho cenrer
NEW YOYI1
Selltemben less
courlesy ul me artist
ao; Pyramlrz 19es
Gouache ana oenell on paper
14 V. ri 21 va ln. raoz rr sas emi
Lewin coneolion
aol Pwahrre was
orauaehe and pencil on paper
14 va 11 zl ‘le ln. 136.2 1 54.e ann
Lewin Colleclion
lul. Pyramlli |986
spuache on paper
19'/z X 23lrl,(-19.5 X 58.4 Cm)
LeWi\\ Collecllnn
zn PYramil1,\986
Gouache and pennl en paper
19 ve 11 23 ln. 149 5 rr 5s.4
Lewin cpllecharr
ern. Pyrarnnz 1955
Gouache gn paper
19 S/a 1 23 1/A rn. 149.13 rr 591 cm!
Collection av lhe whnrrey Museum el
Arnerrcah err, New York, purchase, wrln
lunas lrerrr me Parrrhng aria seulnlure
carnrnrllee ana lhe urawrhg cernrnrnee
Zll. Wall Dfawmq #449
MUl[lD|e BS‘{Yl\|f\E\VlCE| DYVHMIUS wlih
color inn( washes superrrrrppsen, Frye
pyrarnles, The hacugrpunp is snow,
Trrsc pyrarnru; the avex is cenleh Four
sraes: (l1: RR: 121: GRB: 131: env; (41: els.
The connector: Rvla. Serena pyrarrrnl:
the apex is <eh1er Four srpes 1l\;slaa:
(21: oven: 131:Gs:(4>:o1 The cenrrecr
lor:G.TVli1d pyrarnia: lhe apex is eenreh
Three SIGQSZ (III RVBRI (2): RVR§ (311
oven, The cennecwr owe, Fourth
pyrarrna: the anex rs cerrlen raur sides:
111: G: (21: voan: (31: RR: (41: Rom
Trlih pyramra: the apex ls centen
Three sraes: (11, G; 121: nv; (31: eleven,
Color inn( wash
first arawrr hy: rrarrsre Kvllaars.
Marreh schpuren, Roofs Theuws.
any vrlleyeye
Nwvemhen 1955
cnllecirpn al che Minlslere me la
ccmmunaulé iraneaise, Musée earl
rnerlerrre el :fart eenlenrporarn ae la
yrlle ne Liege. selqrurn
ere. wa/1 Drawing usz leae
peuhle asyrnrnelrrcal pyrarrnes wilh
ahernahng parallel (he len srpe or
l>gllern1 eahas.
Gray ana whine rnarhle (lahpy liner)
cellechen ol (he Musee au Theaire
Rgyal pe la Monna1e,Bmsse|s
xl. suns
era* rlye»Pprn1e¢1 Slar with Bands
ar Ce/ar. 1991
Gouache on paver
22 ‘le 1116*/e in.(57.2 rr 41.9 cm)
Lewin Collecllph
era. wal/Drawing #395
siars wlihihree.1ounlrye,snr,seven.
erah(_nrhe.ana1eh peinxs, arawn wich
a lo ln. 125.4 crnx wipe panp ol yellaw
color lnh wash. The area rnslne the
haha is ren eplnr ine wash ana ihe area
puisrae :he band is hlue seler inn( wash
The slats are separalea hy hands nl
1hrlra1nl1 wash,
Color rnl( wash
Frrsr arawn hy' Jose Alhiel, Anne Pairy,
Ahlhprry Sahsalla,Maql1aIerla zalac
mrs( rnsiallahen cenrre a'arl cpnlernr
perarn, Arrcreh palais des exueslilens.
Geneva
Jurre. 1933
cplleciren pl :he Dallas Museuni a14ri.
ern p1 The 500, lnc., Mr. ana Mrs.
Michael J. celllhs. ana Mr ann Mrs.
James L. sxephensen uh. 1955 (eurreni
lnsiallazlen pepreiep rn ihrs nhatoqraph)
ers' Stars [proposal /er wa/I drawing
/ar Da//as Museum a/ArI),19B4
Gouache on paper
21 ‘la >11s'/e ln. 154 ir 47 ern1
Lewltc Collechan
ere- wall Drawing #sue
scars wich chree. four, llye. sn. seven.
erghi, and nine pplnis. wnh bands nl
caler rnl( washes superrrnpnseel,
celer rrrh wash
First drawn ey: enmany sansona
and elhers
Tirsi rnszallallnh. 23rd lnlernailehal
arena( pl san vaela
Octouen 1995
celleclren ol (he whitney Museum ol
Arnencan Arl. New veru, purchase, wllh
lunas lrgrn the Painlrng and Sculpture
cernrnlriee ann the Drawing carnrrnliee
era wal/ Drawlnq #396
slars wllh three. leun riye. six. seyeh.
erghz, nine, ann len pelhls. prawn wllh
a1olh.125,4 cm) wine haha pl yellaw
celpr ins( wash. The area rnsrae :he
laana is red cnlnr (nk wash ana (he area
pulsiue the haha is blue calar rhh wash.
The slsvs are seuarated ny uanps ol
lnuia nil( wash,
Colnr (hl1 wash
rrrsl prawn hy. Jose Alprgl, Anne Palryr
Anrhahy sanspua. Magdalena zalac
Flrsl rnslallallen cehire par( eenlerrr­
pprarn, Ancren palals des exppsrllgns.
Geneva meplciep rn lhrs phelpgrapm
June, 1953
cellechen pr ine Dallas Museum ol
Ar1. gill of The 500. lnc , Mr ana Mrs
Michael J CoIllr1s,and Mc and Mrs
Jarhes L. siephensen Jr.. |985
era. rryewgrnlea slars, 1995
Engrayrrrg-ernnassep rnullrples in
Twin Rpcher hanarnape paper
54 >1 54 in 1137.2 111372 ernn
mrlrpn 15
Prrnlea and puhllshee bv Dayra Larsv.
Iwo Palrhs Press, New van(
are Slars. 1967
Palnlerl wood
Each: 39 11 39 11 39 1/-in
(99.1 >1 991 11101 crm
Cpllecllgn ral lhe Dallas Museurn gl Art.
gl1l al lhe arllsi
een. wall Drawing :ram
lrregular szar wrih eeler rnl( washes
superrrnposea North enp wall the
hackgreunp is vw. Bangs 1-1 frern
erlerlarle lh1erl0T(each:B =/4 ln.
122.2 ehl11:1l1 RER: 121: G. 131. RvR:
141: EG: 151: RRG. 151: sc. 171: GGG
calar rnh wash
Tlrsi prawn ny Jael charnherlarn,
nayrp 1-lrggrhhalharnmrshrnuga,
Pairlcla P|1lIllus.Ellzabet|l Sacrer
hnlhenv sansena. Reheeea sehwah.
KelTsulimura,E1lc zerrnann
varnish: John Hagan
Fehruary, 1991
Collectlon ol lhe Disney Deyelpvrnenl
ce.,orlan11e
ear. wall Drawing #729
lrregular ealar bands,
cplpr ink wash
rrrsz arawn hy; Evan Terlae
vrnce Janes. Anlhony sahselia
varnlshea ny Jenn Hagan
Augusi, 1993
Collectlon ol the High Museum el Arr.
Alla|1\a,GlftulMaTkand Jugilh Tavler
through the zmh cenzury Art Aegulsilrph
funn ana ihe zozh cenwry Arl saclely
elsv or une leeusrnnlphs 40g
:ze-en Maquenes mr lrregu/ar srars.
1993-99
Walercolor an paper
Maruenhayen P1nyec|,Camml;sloned
hy lhe Arnsieraarn Venus year me
Kunst, Arnslerparn
Maauelies lahneaiea hy wrllern wgln.
flrnsleraarn
zu. /rregu/ar slar, l993~99
vellpw and rea nlrel(
Markenhgyen Prwecl, Carhrnlssrenen
ny ihe Amsterdam renas voor de
hunsl,Arnsler11am
xll. Banos
ns wa/l Drawrng 1:4113
Bands e1 lines rn leur celgrs ana faur
alrerzlens separarerl by gray hanps.
lndlalnk,lndlalnL1 wash, and celer wash
mrs( arawn hy Jp walanape,
Jrni wlehnrann
rrrsl lnsiallahen: The Museum ol
lhe eieneurn. Helsinki
Octnhen 1953
celleccren Q1 Equllahle me Assurance.
new vera
eas. wall Drawing af 37a
A square awrpep horizontally and
yerircahy rnia vpur equal parls, each
wrlh a arllerenl plreellan el 3 in
(1.5 cnr1 wine allernallng parallel bands
el lines. The hahps are nrawn in lnala
ink washes.
irrera ini( ana inpra inn wash
First arawn lay Marianne Gunlher,
Jo walahahe
rrrsz rnslallallgh Banco Gallery. Milan
July. 1932
ceileehprr nl Henry s McNeil,
Philadelphia
an wall Drawing M84 B
Square hgraeren ana rlwrelea hprrzpnzally
ana yerheally lnrp leur equal squares.
each wich bands in pne el veur plreelrphs
color rrrl( wash
rrrsl prawn hv: rrahsle l(lllaars.
Roy vllleyeye
Trrsi rhsrallacrpn Galerie rranek ~
schulle_ aerlrn
June, |991
cauriesy el the arllsl
 zu. Bands ol color 111 four Drrertions
rwmvn a s1111a1eJ. 1992
Gouaene on paver
50 11 50 1n. 1121 11121 11n>
ca11ea11an 111 the wn11ney Museum 111
Amerrean Arc, New va111,a11r1nase, w11r1
1u1111s1ro1111r1e Pa11111nq ana Sculvlure
co1n1n1nee andthe Draw111q co1111n1z1ee
zza' wal/ u1aw111g 1:1121
A anaeu s<1uare1s o1v1ae11 v1or11on1a11v
ana ver11¢a|1v1n1o1ou1 equal nans.
earn 1111111 a a111e1e111a11e111on 111
anernannq 11a1 mack a1111 glossy
black aanus.
Aerv11¢ 11a1111
r11s1111aw11 11y,Nao1n1 F1111 ano others
r11s1 111s1a|1a11on Ace ea1|e1v. New 111111
A11111, 1991
cou11esy 111 the ar11s1
an wan u1avy111q #291
Two-par(111aw111q.Two wans a1e earn
111v1aeu no111e111a11y ana ve1¢1ea1|y
1n1o1ou1 eQua111a11s,1s1wa11.12 1n,
130 5 ¢n1> bands or 1111es 111 111111
111re1:11ons, one o11ee11on 111 each pan,
orawn 1n n1ae11 |11111a1111<_z11u wa11.
Same, 11111 w11r11ou1 colors 111aw11111
111111a1n11 ana color 1n11 wasnes.
111111111 1n11 ana eo|o11n11 wasn
r11s1 111aw11 oy» sa1an 'A111u, Jean-Luc
Arvers, M11:ne1 1-1a11s111enav, nav111
1-11aa1naaznam, Jean Mane Rernen
r1aneo1s Rouen, Anmony Sansotla
An111. 1953
ca11e<r1o11 111 :ne CAP: Musée 11'a11
1on¢e1n11o1a111,1ae1aeau1,r1a111e
aa1-ue wa11u1aw111g :uso
A11one-.zwo-,1111ee'.a1111 1o111f11a11
eom111na11o11s 111 12 111. 1311.5 11111 oa1a11e1
aanus 111 11nes o1aw111n1na1a1n1r
India Ink Blvd CDIUV wk WASH
r11s1111awn ny- Salah ‘A1>111, Jean 1111
Arvers, m1ene1 1-1a11s1ne11oy. Dana
111qq1nao1nam, Jean Mane Pe111e1,
r1a111;o1s Ro11e11. A11111o11y sansona
r11s11ns1a11a11a111cA1>c Musee a'a11
eon1en111a1a1n, 1ao111ea111, France
411111, 19133
covnesv e1 me a111s1
eaa. wa11o1aw111o 11112
11req111a1 11qu1e w1111 gray and
black 11a1111s,
oranne
oe1o11e1, 1994
ca11e¢11a11 ol sn1n11111u 1fLAND rower
11111111
o 11s1 nr 111111: 111us1RA11ons
ue Wa/1 n1aw111g #696
1»1o11¢an¢a1 ana ve111¢a| nanus w1111
eolor 1n11 washes svna11rn1:oseo.
co|or 1n11 wash
r11s1o1aw11 byi Harm Geerhnqs,
1n1;11¢1 Masman. Rebecca Schwab.
w1n1 Slarkenburg. Tom van der
Laaken, w111an1 wo111
va1n1sr1e11 ay: Jann Rogan
Januarv11992
co11ee11a11 a1Ran1n1111111e Szhnuwhurq,
The Haque
ass Wa/I u1aw111q 11.113
rau111nes1n1o111 a11ee11u11s
<e1;ua|snac111g on an uneven wam.
|n111a11111 wash
rrrsx drawn ov: Mananne Gunmen
rra111 1<a1ser Jo wacanane
F1rs1 1ns1a11a11o11; Dacumenta 1, Kassel,
Germany
Mav. 19112
ca|1ar11an o1111e oe1nee111e1nuseu1n.
111e Haque
ua 1111es1n Four o11e111o11s, 19112
o1ave|
55s 11 55a1n.11411.3 1114113 1n11
|ns1a11a11o111 wave 11111, Brnnx, New voru
Des11oye11
an, L111es 111 faur ofremons, 1955
eaueo e11a1ne1a11 a1u1n1n11111
1oao 11 use in. 121412 11 2194.5 em)
1ns1a11a11on- 10 wes1 Jackson aouuavara,
cnreaqa
ca1nn11ss1a11ea bv A11 1n 1=1111|1a P1a<es
co11ee11on ol c1ene1a1 se1v1aes
Ae1m1111s11a11an1o.s.A.>,c111<a1;o
za; L111es1n ro111 n11ee11o11s,1991
111a111|e
o1a111e1e1;21a111_154s_1s emm
Ronald Reagan wasn1111;1on Na11a11a1
A1111ar1, was111nq1on. oc
an, wa11n1aw111q 11459
A1es 4111 11112 <n11w1ae,1ram1o11r
corners, eo1n1>os11e, w1¢n a11e111a11na
nanas o1 oray ano color 11111 wasr1es_ The
wa11 1s bordered ana o1v1aee1 nor11on1a11y
ana verneauy 11y a 4 1n, 110.2 amy mae
black oa1111.uaoe11e1rnuaa1an1;a1ay
a1111 yenaw ares 11arn 111e :op left, upper
11qn1qua11ran1,q1ay ana rea ares 1ra1n
the ton 1111111 1.11we11e11a11aa1a111:q1ay
and wmre ares 11on1 the 11o11on1 ren.
Lower 1111111 aua111an1; qray ana z1|11e
ares 11on1 me 11ouon1 111;n1,
501111 1n11 wash
r11s1 nrawn 1111: Jeanne nunnrng, David
1111;o1noo1r1an1, 1non1 111i11111e11roa111
Dan >111srr1 1»er|1nan, Cena Radek.
Anlhony sansana, Tonv Tasset
nrsc ins1a|1a11on; Rhona r1o11n1an
sanerm cnirago
March. was
co11e<1ion of James ann zayrne cloonan.
crneaqo
ua. wa11 Drawing 111599
A wan 1s 11o111ere11 ana 11iv111e11 venieany
1n1o 1ou1 equal vans DY a 12 111. 110.5
¢1n>111111a11111 11an11.w11r1111 each nan,
12 1n. 130.5 e1n>a1<s 1111111 eo|o1 11111
washes su11e11m11osea 1111111 one or
the 1ou1 corners,
ca|a111111 wash
r11s1 drawn ay; cn11s1111a ca¢a1111a11ge11,
Anznony Sansana
A11111, 1992
co11ee11an ol me Amornuz Palace >1a1e1.
soo1e1o. |1a1v
141. wau nrawmq #462
A1as 4111.11o_2 am) wine, 1111111 me
n11opo1n1s of 1au1 s111es,111awn wim
a1ze111a1i1111 nanus 111 urav ana o1ae11
11111 wasr1,lsKv1aII:a1cs|ror11(he(OD:
2ne1 wall: ares rr111n1ne |ef¢; :1111 wall:
ares 11am the 111111114111 wan: a1<s
r1a1n the oam11n_
1a1a111 a1111 gray mu wash
r11s1 arawn ov; se1q1o cava1z1n1.
Mauro 1>11ae1o1o. A111nony sansona.
Serum Sarra
r11s1 1ns1a1|a¢1on: s1u111o oz sonogna.
nalv
Jan11a1y,19ss
Courlesv ol the ar11s1
aaa. wa/1 orawrnq 11519
A11s 1 '/a 1n. 120 cm>w1ue.1romt11e
mio11o1n1 ol one s111e, co11111111111a nn
111111 wa11s, a1awn 111111 a|¢e111a1inq
nanns 111 n1a<11 1n11 ana the nnne wall.
1n¢1a1n11
nrsr drawn ny: Annrea ~1ares¢a11n1,
An111or1v sansoua ‘
First i11s1a||a11o11: sanaria Auessannra
Bonomu, Rome
sen1em1>en1=1a1
cnureesv 111 me arnsl
ua. wan nr-awrnq #582
rnree-aan drav11nq.\sl 11ar1: 11nes
arawn 11am the lower 1e11 1or11e1 ol
the wa1| 1o1ne 1n111pa1n1s ol :ne tap ana
nqh! sides <11 the wan, ana the pai111s
between. 2nd pan: |1nes 111awn 1111n1
me 1:e111e1 of me wan to muse swims
on the 1e1¢ and 119111.11111 and venom,
3111 aan: 1111es arawn 1111111 me vow
11ar111;orne11o111ose parms an me 1e11
side and mccom ol me wan. The areas
between me 11nes are 1i11e11 in a11e1na1e|y
111111 111a<11 ana 1~n11e.
|1111ia 11111
rim 111aw11 ny; Pa111 Brand.
Terje Roalkvam, Dae s|1eusn11>
f1rs1 installation: Drammen
R11ns11o1eninq, n1a1nn1en. Norway
Oclohen was
counesv 111 the arnsx
ue wa11n1aw1nq 11543
on 111111 wa11s, lines 11¢1n1 me mn.
oonom. ana sides to miapoinxs 111 the
11111 ana sides of me nan. rne areas
between the unes are 111|ea rn wan
1111111 mu washes sunerirnposea.
ca1a1 11111 wash
First drawn ay: ce¢11 1>a11na1s.
Andrea uareseausni, A1e111s »1e111an11,
Anmovvv Sansmta
Seplemllt 19131
co11ee1ia11 o1 the Musée s1, Pierre,
Lvon. nanee
ns wan waning 11630
A wall 1s a1v111e11 no11n1n1a11y1n1o¢1~o
equar nans. 11111: ane111a1ing nar11on1a1
111ae11 ann vmile 1 '/- 111. 1zu 11111 bands,
Bo\tom:a|Ief11at1ng 11a111¢a1111ae11 and
nnua 1 1/a 111. 1211 em: oanas.
1na1a 11111
r11s1 drawn ny; 1=au1 K|eiine_ Mneo
on1us1. uarien senau1en
rim 111s1a11az1on1 Ga1e11e on1us1.
Amsterdam
Janua1y, 1990
c1111e<1ion of Frances Dinmen cnieago
me wan Draminq 11631
A wan 1s nivided 1n1o mo eq11a111ans
hy a 1111e a1awn 11on1 eo111e1 to earnen
Left: a11e111a11ng diagonal a1a¢11 ann
while 1 '11 rn. (20 emr hands 1n1m me
aower 1e11. 111111111 aner11a1n1q 111aqana1
a1a<11 ann nnne 1 'le 1n. (20 em; hands
1ron1 the uooer 111;m.
1n111a in11
r11s1 drawn oy; Pam neiine.
11111111 on111s\. Mariefn senaunen
r11s1 instaliationz Galerie u111usL
Amszeraam
Janua1y, 1990
causeuian ul r1anees Dittmen cnuaqa
11111. covnluunus roRMs
an wau nrawrhq 11652
oh three walls, uhhhhuaus 1a1rhs
wah sauar hhu washes supervmvosed,
ca1hr hhh wash
r1rs1 arawh hy; cyhehha nuhhahhf
hehmhheh. hrhahaa nuns,
Heny 3ah1<sah,1=arrheha Phhuhps,
Reheeea sehwah
varhhshea hy; Jahh Haaah
semehhheh 199o
c<>nee11°h al me 1ha1ahapa1hs Museum
aa An. sm av me ouaney surphuh ra1hh1v
mar wau nrawrhq asses
oh three wa1|s. eahuhuaus farms wh1h
aherhahnq 1 ’/1111.120 cm) hhank aha
whhe hahas. The wa1hs are haraerea
wh1h ah 1 Y/a 111. 12u <m)b\acl1 haha.
uhaha hh11
r11s1 arawh hv: Guuselwe caeea1a|e,
serqha rerh1ane1|a, Luca Pahsrazzh.
Ahuhhhy sahsona, Rebecca shhwah.
Ahxaheue seam
r1rs1 ihscanahahz sa1ahe ae1 camu¢<1h1_
Mhsea ah caahahrhahae, Naples
June, 19ae
churresv ul she ar1is1
an wall Drawrhq 11522
Cohhnuous iorms whth calm 11111
washes suuerhmvosea.
calar 1h11 wash
Fhrsc arawh hy; Dahha Herahhahh, Davha
Hrgqhhharhahh, Kehhh Kaufehherqen
Anthony Sahsuua, Lawrehse Swan,
Mike Zalhar
msc 1hs1a|>a1rah:c1eve|aha Museum
o1 Art
A1.1r1|.\9s1
cauehnhh al Dn Arhala aha Juurzh
Ruhenszem, A1|ah1a
asa. war/ orawhhq #521
cah1a1aX 1arrhs w11h ha1ar hhh washes
supehrhaasea. hhe wa111s haraerea aha
air/haea hahzahcauy ahh verticahly hy
1 '/a1h. 120 s1h> bhack hahas, sreahha
qhas1os X 130 1h.12s9.2 X 220.2 ,
ce1ar1hX wash
First drawn byZDa1/ld 141aa1hha1hah1.
ahzhahy sahsena. Reheeea sehwah.
whhh sraruahhura. hahs vah Kaa1w11X,
Teh vah aer Laaneh, wi11a1h wa111
varhzshea hy; ahhh 1-cuqah
Uctohen 19139
caneeheh ar Anson hu, Laeuwaraeh.
:he Rezheruahas
es1_~ wa1/Drawrhq 11152
Cannhauus forms wnh ah hrregular
h1a<X aha,
cahar 1h1< wash
Fvst arawh hv: sashhXa cha,
uhhh 1»1as1a1a
Juhe. 1994
cahneehhh ol the chaxeau ahohrah.
ohhh. rrahae
asa, Wa/1 orawfhq 11515
cahhhuaus 1arhhs auuhhea hh 1 1/a1h.
(20 ¢1h1h1asX hahas
|V1d1a Ink
rhrsn arawh bY:Dav1d Hhqahhhazharh,
hharea 1wares¢a1<h.,1=eara Rhzaparna
rirsn hhszanahah Le Case a‘ar1e.M1hah
och>her,19sa
caureesv aa mhe arusx
ess- wan nfawrhq :asm
Re<1ahq1es vhrrhea nv 3 hh. 11.5 em
whae1ha1a1h1< hahas. meezhha an
haha ahahes,
|ha1a 1hX
rhfs1 arawh hv: Davha h1ha1;ehha1harr1.
Ph1|hv Rihev. Jhrh Rhqe1s.
Ehizahexh Sacre
rhrs11hs1a|ha11ah;Lhssah Ga\|ery,|.on11or1
Ju1y. 1959
ceurresv ea 1he ar1hs1
ash- carrhz>1eX farm ss. 1995
Rahhnea wood
1211 X 12 X 212 hh
1304.5 X 1192.9 X 590.9 ahhh
caheshah h11he shhhe1ah1ehhruseurh.
Maas¢rhhh1.1he Nemerhahas
1h che haamrauha 111 the sarhe
ahazaaraph:
wan Dramhq 11554
carhh|eX carhhs whrh eanhr hhh washes
suheruhuesea.
Cuhnr hh1< wash
rhsx arawh hy uavia Hhqarhhmham,
Aharea Marasaahehh. hhchahv sahsana,
Rebecca Schwab, Jo warahahe
Fhsr ihsrallahah, \/ehhee a1ehha1e
Juhe. 19135
Cnuvtesy ol :he arusz
za Camp/ex rarrhs 1:49 aha 1:51, 1999
Pahheea when
sash. 113 1/A X 1s =/1 X 12o1h.
12oo X zoo X 304.9 hm)
Courtesy caneha Maha Rherahh, Rarhe
ess. Camp/ex fwm ass, 19133
Ehamel on waaa
so X 40 X12e1n 12632 X 1015 X 320 cm)
Calleeuoh or the Na11hha1 Museum ar
Moaerh Arr, Tokyo
ash 9 Pvrarhras ah a 9fPar1crha,1991
casr aawesuer reshh
13 ‘/X X 29 X 29 hh. 134.3 X 131 X 131
Eahzhah: 15 phus 5 anhsvs proofs
Puhhhshea bv Tahulewhaa Press. |h<.
Rasa Esmah Ga1Ie1y,New varh
ssh camp/ex Farms, 1990
1=a1h1ea ahhhhhurh
14112 X 44 X 44 hh.
1192.9 X111 B X 11,8 cm.)
112; 12 X 59 X 39 hh
1152 9 X 1499 X 99_1sm>
$13.12 X 52 X 2a rh
1192.9 X 132.1 X 11111111
114.120 X 40 X 321h
1304 s X 1015 X 151.3 :mx
115: 120 X 55 X 591h,
1304.13 X 139.1 X 1499 mh>
Lehr by :he arhsz lo che Nelsahsmhhs
Museum nl Arr, Kahsas chcy
><1v.s:om:rR1c maunzs
ess. Wa//D/aw//117 x111
Raahh hhs1a|ha1hah wnh :mar hhh
washes Suverhmposed
Co1ar1h1< wash
nrsl drawn bv: Jahh Hoqah.
Ahihhnv Sahsana, whlherh wow
ocwheh 1992
ca||e¢hah 011712 Musée ae Phearahe,
Arrhehs. nance
zaa. wan Dfawrhq #sae
rhahales aha a 1rave1a1a wah hahar hhh
washes sunerhhnosea 1h>1wa¢rhaha|es
baserlorbase wah eahar hhX wash haha
haha: sw; crhahahesr eva 1R11rapezaha
whrh color hhk wash haha, aaha; RvR;
hauezahasvB.1C1Rhnh¢1rhahu|e wh1h
shlhr ihu wash haha, aaha Goa, crhah­
q|a RR13 <1>>|huer1eacrhahahe wheh
<a1hr 1h1< wash haha Band c~,1r1ahq|e
BRR 1£>1whcrha1»ahes aueX-|e~a1>eX
whch ea1ar1h1X wash haha. eaha: RR.
xrhahqlesz G 1¢1Eaui1a¢erahcr»ahqhe
whrh cahnr hhu wash haha haha W.
1rha1hq|e; Rva,
calhr ihk wash
11s1 nr 1=LA1s|\.Lus1R1\11o~s 411
Fhrsx arawh ny Aharea Mareseahehh.
Luca Paheram
rhrs1hhs1ah1a1hoh Ah1err<ah Asaaerhv
hh Rarhe
Jahuarv.199D
caunesy nl me arhsc
aah wan nrawrr-rg #192 5
ahaha renahules.
R1ae1X aahhz
rhrsz arawh hy Auaushs Arhhza, Rah
Reeuhey. heahh cahze, cheh ahaha.
Juay Dhheseh. Sarah say, Ramrheh hhn.
Jahh hasmra, hhstv LaheraeauX.
caraue Mewarhara, »<a1h1eeh Mhsehahe.
Jahe1 rarhh
Frrsl1r1s\a|Ia(>or1:Ur11\/ershtv o|Mhch1qarh
Museum hh/111./ehh Arbor
Jahuarv.199e
caunesv av 1he ar1rs1
ess. wa/1uraw1hh 11192 A
mash reslahqhes aha squares
Dhs1>ars1hh nahhc
rhrs1arawh hv: mae hhqermrsseh.
sahhhe crheshhqeh, Paar James
h1awar1h,1»1ar¢rh1>4ehqereh Arnhahy
sahshha. Joqr weqryzvh, Jeraeh
vah aer vehaeh.M1rha1h wawrziheh
F1rs1hhsxauahahzLuawuasharqer
s<h1ar41esmhehe, Luawhqshurq, cerrhahv
Juhe. 1995
caumesy <>11he arhs1
163. Wal/ Drawrnq #720
cahsaauehae
The Wahl I5 GIVIUEL1 VQVIICBNV IMO lhve
eauan squares, each whhh a gray square
whlhlrl A 2 5 In (6 4 Cm! While burden
rhe hmerhar squares are coo. The
haraers are :he whhe wa>h.1he haahs
arauhas are:111;cRRRRRRRRR;
121- '/ac, RsRR.131 1/XR. 1/eoyvvvvv;
141: saaaacaar 151 1/eo, vRvRr1v
Calm Ink V/SSH
r1rs1 drawn hy- saehhha cha.
heh 1su1hh1ura
varhhshea hv: uahh hahah
March. |993
caneehah al :he urhcea States
HNUCBUSI M€|Y\uV1a|MuS€UVfh,
wash1ha1ah, uc.
 eu. wal/ 0raw1nq 8725
on a blue wall, a black square w11n1n
a wrnle borden Tne background 15:
55o555.suuara1s mark 13.11111 rs
me wnrle wail.
color 1n1 wash
F1191 urawn hy:Sacr11l1o cna,
Jo wazanane
varnranea by'Jor1n Hagan
Apnl, 1993
Collection 011115 va1e un1ye1s11v
A11 sallery. New Haye11,Ka1he1111e
Ordwav runs
aes WallDraw1r1q #5155
zleyen @1111 1111 wash reacanqlea
arm s1ruc111re.eac11 w11n a yernaal ana
norrzancal pen¢11ar1a.wa11A 551111:
111111, 115511. Wali 51101111 vw; 11051
Wall c nova, 555, 5015. wa11 nz
5la¢1,wn11e.
cular 1111 waan ana 2 11 Penau
F1151 urawn 1>y,11nurea mareaaalanr,
Luca l>anera111, Paulo zruem
January, 1991
Collecuon of me Casteno or Rryolr. Turln
2155 wallznrav/1nq #735
neezanqles ul color.
Color 1n1 waan
rrral urawn ny- Andrea Maresealrru,
ANINDNY Sansone
NDVQMDEL |993
Collection of the Centfo ner rarxa
contemporanea 1.11101 Pew. Pralo, 11a1y
Z51. Wal/ Dlawillq X713
on a yauneo ce1i1ng,2011requ1a1
11yefs1ueol1uures,
calur 1n1 wash and lnura 111
11151 urawn 51: 5r1an calenran.
Leslre Maloney, seen macarrnunr,
Shawn Parry, Anlnany sansona
January, 1993
calleruon ul :ne 1111115011 oallary
111 A1ner1ean Ar1,Pn11l1pa Academy,
Andoven Massaanuaelu. 0111 al
the arms:
xv. oP:N cunts
aaa. 1:1 5 7 911. 1995
Aarylra anarnel on alununurn
195 1104 1104111
15029 1 254.2 1 254 2 cm)
we Hall ranury rounaauon cunearrun
a1T11e Ne1sona1111na Museum o1Ar\,
Kansas City
412 1.151 or 1>111z111us11u11n~s
zu. lnstallahun yrew ol me Lawrn
exhibition siruclures, .John wehar
Gallery, New Vork.1977.
no Nrne-PanMo1111/ar Cuoe, 1971
Baked enamel nn a|u1111num
B6 ‘/2 11 B6 ‘/z 11 86 'lz 1r1.
1219.7 1 219.7 1 219.7 rm)
Collecnon ui the Art lnsl11u1a ol
Cnrcaqn, Ana Turnbull Hertle F111111
111. hve 1¢>wers.19as
Parmeo wood
59 °/1. 1 59 1'/1. 1 59 °/1. 111,
1219.9 1 219.9 1 219.9 ¢n11
c1=11ea11ar1 ol ina wnrmey Museum ol
American Arl, New Vork, ouranase,
111111 1un11a 1r111n the Loura and Eess<e
Adler rounualian, lna.. Seymour M.
1<1e1n. P1es111e11t,\he Jann 1.11. Baur
Purchase runa, the Grace 5el1 Endowed
Puranaae F11nd,fV1e sunara ana cnarlea
o1l1nan,J1.r11un11a¢111n,1ne.,111a 1111
Purchase runr1,anu the 1>a1nnna and
saulpmure c111nn11uee.
zu! 12 3 4 5 4 3 2 1 cross ann rawer,
1954
Panrzeu wood
12 1120 1120 rn
(152.9 1 304.5 1 304.5 51111
Collection o1 me Vale u111yer§11y A11
Gallery, New 1-1ayen,111e Janet and
Sameon 5raqu111 funn
eva, irregular mwara, 1991
1>a1n1eu wouo
45 1 541/1 1 251/.1n.
1115.5 1153.5 1 56.1 e1n1
Collection 111 s1uar1 ana ~1a11r1e Frankel.
caurresy Paeewrlaensmn. New 11511
an. 12 1 23 1 12. 1995
Pamtea wood
2B ’/4 11 28 ’/A 11 S6 ln.
173 11 73 1 l4Z.2 cm)
Private collecllnn
ns' Double 1ower,1999
Palrltea wood
56'/1 1 42 1/4 1 61 1/4 111.
065.9 1 105.6 1155.5 amy
Courtesy Pacew1lde11s1e1n, New York
mf 13/11 1955
1=ain1eo wuou
59 1115 1 eo 5/1111.
1149.9 1 299.1 1154 <1111
Courtesv oalerre Karsten crave,
Cologne. Paris, Milan
nv z1a1aq,1950
Baked erlallwl an aluminum
43 1/1 1 43 1/1 11991/.in
1110.5 1 110.5 1 505.1 a1n1
Pnvife C0||EC!|0r\
215 cube, 1994
Wood
200 1 200 1 200 111.
1505 1 505 1 505 ern)
Long-¢er1n loan 1o1r1e Parco aeulr
u<1:e111. l.a selva, Pauano, 11a|v
Another version: callaanon ol
serq1o Longo, caasrno, llaly
11vl.s1vnoroAu
m sryrafaarrr 1r1s1a11a11o11 we
wnrle aune 111111 alan s1yro1ua111,
La¢a1 ana acyrafuarn on a11ea1roa1r
120 1120 1120 in.
1304.5 1 304.5 1 304.5 env
r1ra1 urawn oy; saenruo cnu,
John Hosrorn. Kathleen mcsnane.
111111101111 sanaona
11151 1nsta||atmn:.ln11|1 Weber Gallery.
New 11011
January. 1994
caurzesy ul me arms:
aaa szymruam 111§.»a//anon #32
51ae1 ann wn11e aryroluarn on rea.
1e111>»~1,an11 blue walls.
1a1e1 anal sryrofoarn
rim urawn oy;Jon11 Nusfom.
may nosfora. A1e1 1_a11n.
Kathleen uasnane, Kar/111 oaler
february, 1995
colleuiun ol the Liumnuuse. New vars
nr-na. sryrafoarn lnsrallarion |1215
511 rooms; rea. yellow. blue. olaeu,
wnne and gray. Each room nas me
colors <11 a1yn>1oan1 mol 1ne color nl
me wa|ls1. '
Laferr ana sryroluanr
nm urawn ay: Jann nusloru
First inszallariun; 1<uns1vere1n
Lunwrqahurq. Ludwiqshurq. Germany
June. |995
coureesy ul the artist
Kvll. concur: BLOCK
Ill. Cuba 1986
Concrete block
196 '/n l 196 "/5 11 |96 ’/I in.
(500 x 500 ll 500 cm)
collecliun ol me Bechtler Founnatiun.
Zurich
zu Bloch. 1991
Concrete block
155 11130 1 |30 in. (4191 11 330 11 330 cm!
Collecnan ol me Israel Museum.
Jerusalem, Gift al Ronnie and Blandie
snanrro Acquisition F1md,l99\
as Stevs, |992
Corrcrele block
196 'la 1196 1/e 1196’/»in.
1500 1 500 1 500 cm!
oollenion ol Martin vissen Bemevk,
me Nelrrerlanas
an Slack farm: ue1norr;a1 ra the
uiasrnq Jews. 1951
Painxea concrete mm
se 1/1 1 204 11. 1 es ’/1 in.
1115 1 520 1 115 e1n1
lnsraneu in me Plan mar Republik.
namburuaalxuna. cennany Oollenion
ol hm rreae una Hanses1aa1 Hamhurq,
nulrumenurae
an Cube wmmut a ramen 1988
Concrete block
|96 'ln 11 |96 '/I 11196 'll ln.
(500 11 500 1 500 cm!
|ns1a||at1un: Kunslwerue. Berlin, 1999
Counesv ol me arnst
an Cube without a Cube, 1988
Concrete block
|96 'll 11 |96 'lu I 196 '/l in.
1500 11 500 11 500 cm)
Cnlledlon ol Giuliano Gofi. Pisluia, Italy
$\ H0f`il0lIfal Serlail Piece #9, 1992
CONUEIE DIDCIK
51 1/1 1 51 va 1 355 va in.
(157 1 207 1 935 e1n1
culleezian of me onamiruaruernaanoe,
Aarau. swinenana
IN. |23l5432L\993
con¢re1e u1»¢1r
1_una1ern1 :aan frunr me artist 111
the vuruanira saulmure 1>ar1a
Leeaa znqlana
rn Six-Smen Tow2L1993
Cnncrete block
279 ‘/= x 266 m.
(110 cm nigh x 516 cm mameten
Each face: 133 nn. (335 nm)
Collection of the Kroller-Muller
Museum. ouevln, the Nernenanus
m. Tawen |990
Pamtea concrete block
Zee x |25 x |23 in,
(7315 1 3251 x 325.1 nm)
Lomylerm loan hom me amst to the
wexnev Center fur me Visual Arts,
Columbus. ohio
an Yowen |995
convene morn
Luna-mm man num me ami: to me
Luawigsnuvqev srnmaresrsmele,
Lunmgsnurg, Germany
zu wnize Pyra/ma, 1957
Pamnen mncreke mock
we ’/- 1196 ’/» x |96 ’/- in.
1500 x soo >< soo nm)
Private m||¢¢mn
m mee Trrang/5,1994
Cuncre\e block
|ns|a||a¢ion: Neues Museum
wesemerq. Bremen, |994
Cnurtesv ul me arnst
m rnuffsiaea Pyfamm, |991
comme num
\eo =/» X asa '/1 1 sez V. .n
use »\o1z_z X 9109 mn
cn||¢¢nnn of the rmmn.=\ canery
al An, wasnmqmn, uc., am or
The nonana mnef Famny
M Long Pyramim |994
convene mm
125 1 ss1 1 14| =/1 m.
mszo »< 1440.2 X :ao cm)
Collection of ma Bonnevantenmuseum,
Maasrncnl. me Nemulanus
In Pyramid an |999
comm mmzu
cu||e¢mm of me xeysmne mm.
new mnann
m umm/e Neqarfve Pwam/nn was
camera n|<>¢u
Lonufterm man nam me sms: m
zuvnws Parkas, vlmzaus, Lunuama
mm lrregufar Fmqfess/an mmq; #5,
was
cunmn block
ws »< 246 K sa m,
<5o2.9 X ez4,a »< uso cm)
cQ|\em¢=n nl Kas, mmpo/mmpo
cnv mrnon, seam
sou. Irregular Tower rmmzamaf nr/cm
342, V997
Concrete blork
Lung-\erm man 'rom ol me ams\ to
Connecncut coneqe, New Lnnaun
nz. Irregular rawer rvemfa/ umm
#11991
comm mark
236 x |96 ’/- x 63 m.
<e00 1 500 1 \so cm!
|ns\ar|.a¢|nn. venue s|enna\e` 1991
cmmesy el the arust
se; mequfar Pmqressran (rang) #4,
1993
Concrete nmu
zw 5/» 1 1s ’/. X |95 ’/- m
<535 1 zoo 1 500 cm?
<:u1|e<¢mn ul me Ga\|eria name moaerna
e wnzemnovanea Pmazm rom, vemna
au column Slructure Us columns),
was
cunveze Muck
rnmA|.a\von: sa/ Lewin: cfnaernffxx
srmnwes, Ace oanuy, Nnw vm, |995
cemmsy av mg sms:
an Four can/mns, |996
cunuere Muck
|52 x 336 x as in.
new x 553.4 x |219 cm)
cm|m|<>n nl me umversny nv
cassma, new
m, x mm cvlumns, was
cnncveze bmfu
we X 312 >< 312 in.
mzsn » 192.5 X vez 5 mn
c°||e¢n°n ov the wanw An mm,
Mmneanuum, Pamar am or the
sms: with mas umwaea uv
me Juny arm Kenneth Dayton
Garden funn and mmnans pmvv\1e\1
by Ancnuf sum comnanv
wr, Cube with co/um/vs, 1995
Conrrete block
196 ’/H x 195 'ln X196 V- m,
(500 x 500 x 500 cm)
Collection ov me Tnyula Municrpal
Museum ul Art. Avcm Prevecture, Japan
wa, mm Co/umm fn .a Raw, \995 Conecuon Q4 me waaswmm Ameneum,
cuncvere nmcu Nanmra; Gm 01 me arm wan #umm
206 J/A X 442 '/5 x 29 V1 m for ms\a|\a\wn nam bv me New D. mm
(525 1 N25 1 75 mn
cnmnmn Q4 the smprwr mrpnn 115 wa/1 nrawmg #seo
Amseeraam mow Duovv (orange ann qreen),
mync pam:
me drawn bv. znmenn Mderman,
sa<m<n cm my refqum,
xvm, cunvzs & Loovs Amer; rem PM Hedberg,
cnmm Nvsrmwa, mm Prez,
mn, Wa/lbrawmq #9/3 Ermly amy, mm masmma
cemm cnapu sepmmnef, me
Acrvnc cami Courlesy Pacewwaenscem, New vm
Fm drawn nv Anmonv Sansolla,
crm swpena, wana Taqenn N. wan Drawrng r/925
Auousc, |999 Lnouv Duuvv Area ana mme:
cnA|e¢\mn c1Emr\o Cerslto, Ama, naw Anrvhc umm
ws: arawn nv: Aww Aaemagm
no. wan nfawmq #sas N\»:a1avAnqe|nv,safm»<a cnc.
A wan \= awaea m=mm~¢a|\v uv a www scafuenumq
me mmqm une we lon \§ vm, seneemner, 1999
me bottom |s qmssy c¢|\e¢cmn 01 ABN umm sanw
Anrync pam! Amscemam
mu drawn ny; sammn cr-0, nam naw,
Frame wnuunm aw, wan nrawmq #sez s
nm m§\.a\|.au<m: mem<e| oauerm Banu; al Imes tmue ana mem
san mncvsfo A<rv|\< name
January, 199s ws: arawn by Jann Nuqan ana others
counesy or the amst msn \nsma||acmn s\rm»nqnam
sloummu An cemen anmmunam,
an. wif/ Dfawmq #sz-1 A-P Mmqan
A uma square awmea m :wo vans nv Sevtemher, was
.1 wmv une. One nan vm, one qmssy. Courtesy or me amsc
Acvvun nam:
nm nmwn ny; mmm rm am alhers m. wa/1 u/aww xasz c
nm \nslaI\a!mn /me canary, New vom sms of um zyeuaw ana Myne;
Apm, \991 wvnc pam
Pm/a\e co|\ect\on <0 ana cn, an umm rm drawn uv: Jann Hogan ana umm
m me series are wmesv 01 me .arm nm ms|a||anon: awmmqnam
B|00m(|!|\1 AVI Cenieh Bl/mmqham,
m. wan Drswmq #596 M|<h\gan
Colors/Curvns. SGDCQMDQV, \99B
La§<au»< acryhc pam! caufcesv ol me mm
msn arawn ny, Sazmko cnc, Mark n\<|<ey_
.Jenn Hoqan, Amn Mums, maevm m wa/1 Draw/ng seas
Nurv\uva,Je11Puuk, Ermlv Rwlev. mm harms.
Anthony Sansotta, Tana wemszem Acrym pam:
Mama, |999 msn urawn ny. man Amunasun,
Collecuen 01 cnrvsmes, New vera Alek neoamev, swaie DeLanev,
uervke cavaenaz, Jenn mga",
Ju-zu, wa/¢ Drawing was c Jeff Hmrmqswnnn
Ivveqular wavy wmv nanas on nm m5za||a¢»°n w|mams¢>n canery,
zwn Yacmq wang, An cemer :Queue uv An .ann nemqn.
calm mu wash Pamena. cmnrma
rim drawn uv: :rm Ben-mm, ocmner, me
crisuna cammanqeu, sawn Helm, cmmesv of me arhsl
new Meaqner, wmmey van Nes,
Anmonv sansuna, cmvsxuuner wan,
Jeremy ziemann
mann, |996
msv or uns musrruvmus 4\3

aaa. wall Drawing 4921
Laupy lqveen and blue).
Acryln palm
First arawn l:y'Sar11lkn cnp,
Yomas lvanrnerg, Emily Ripley
Octoben 1999
canaenan ol lne Jewisn museum.
New York
aaa! Lanny Drmpy, 1995
lnk pn nauer
29 '/1 x 34 ‘/4 in (14.9 1 B1 cm)
Pnyaze cnllerllon, New York
aze. wallbraw/ng #am
sprrai
Blau parnl on wnile wall
rrrsz alswn ay vaul Devens.
Norbert crunsenei, Rpel xnappslein.
Rrlr Me1|ers_ vaul Rpnnaas,
Anthony Sansalta Alex zeqners
rrrsz rnszauanpn; apnne1an1enn1useun1.
Maasrrrenl.
lne Netherlands
January, 19915
cpurresy ol lne arlrsn
sea wall Drawing #540
curyea panns.
calpr ink wash
First prawn ny: Anna CecLnl1nl,E.v.d,
ulevaen, Anrnpny sanspna. rernanaa
vala, Aninp Wismen lyp zanpnl
varnisnea py. Jann npqan
renruarv,199a
cplierlipn p1uss,Lur;ana,sw1zzer1anu
an wall Drawing #sas
wayy rnlur nanas wiznin a qray, red.
ye11aw,ana nlue naraer
cplar inn wash
rirsz prawn py_»<rrs1in sales, saanrnp
cna, slennanre Sack, Greg wrlnarns
nprn, 1995
cpllerlipn al lne cplny cpllepe
Museum p1Arz.wa1eryr1le,~1arne,
om pi rne arnsr wizn assislanee lrpnr
me Jere Aopen Acaursinuns funn
ara Wal/D/awl/1g 11549
lrreqular nlpns al color
ACM/IIC Dalhf
Firsr prawn ny: Lana Anranarn.
sapnilrp Cno.Amal1e FIy11n,Tnry
Marsn, Keyrn osler Kinr Pmnrawsni
Firstln5\a|Ia\l1Jr1'T11r11lv college.
Ha1!|o1d,Cor1nec\1cu|
June, 1995
Ccurlesv of lne artist
1 Lrsr or vl.A1:lLLus1nA11nns
me wall urawrrrq #901
cplar nanps and nlaeli map, Tne wall
is aiyluea yerneally into snr equal
aanas: rea, yellow. nlue, ovanqer
purpIe_ar1l1 qreen. ln lne center is
a black qlpssy alan.
Arrylrc palnl
mrs: prawn bv: Elvre Apranrs. nayrn
nenrpewpll. Jay reasley, Meanan
Gansen M1:haelG1hbons,Jahr1
Gibhons,CV1ris Hansel. Jann rippan,
Beth Lealnerrnan, rrlsnn Lowe,
slepnen MaImed,5a1ah wlszneanev.
Matthew Pruaen, sean Rrqlay,
Paul Swer1heck,CIinK 1alreaa
mrs: rnslallanpn; lnsmure nl
cpnlarnparary Arr. Pnrlapeipnia
Mav. 1999
caurlasy p1 ine arnsl
ser. wall Drawing #asa
Black ana aalursr llal and glossy,
Acrylic parnl
First prawn ny: Nlrplar Anqelov, Danrca
nalur, Jann riuqan.1npn1as Mass.
Jay Matthews, vralar Maarxans.
Nika span, Inqrid wenar
June, 19911
culleeriun al vlcmnln versienerunuen,
Dhsselduvf
au wa/1 Drawing #911
irregular arcs,11requIar yerneal nanas.
ana rrreqular wavy nanas,
ncrylre parnl
rrrsl arawn by; Anlnpny sansplma,
Mrp 1a1<1sn1rna.H1r1enr1nlprnura
June, 1999
cpurlesy Marian Goodman Gallery,
New Vnvk
an wan urarrrrng 4909
lrreqular panas lrprn rne upper corners
ana lne senier
wal/ Drawing new
irregular ares Irom lne ranler and
irregular nprrzanlal panes
Arryne narnl
rrrsl prawn ny- Nleplar Anqelpy,
Jan Baue1.Dan1ca nauir,
Peter Moor1s,Danlel senornlq
May, 1999
Courtesy Galerie Meerz mnpur, Brussels
an Wa/I brawl/111 1917 uv Non-seamerrk .farm #5, V999
Arcs ana eirples. Painted liberqlass
Larer nainl 26 ‘/4 x 55 1/r 11 IZ 1/4 in.
rrrsl drawn oy: luana carlspn. (66.7 1141.6 lr 32.4 cm)
cnrrslina uenmanelr, James sneenen. cpurlesy of rne artist
Emily lzrpley
Sememben 1999
Courtesy Paula cooper canary
New varli xlx. Primo wonxs
asr, Wa/lDral1vmg #979 an- surfea Cube cunrainirrq an onjen
Arcs ana uanas. pr nrrperranee out Little Va/ug |968
wal/ urawrnp #923 slaerr-anmmine pnpcpqrapns rrrpumea
Arcs ana errele, on never
Latex varnc 12 ‘/r 11 lo rn. (31.11 x 25.4 am)
rrrsz drawn ay: Nalnanrel c.a11ra,41we11na Lewin callenipn
Gual11onl,John uppan, Anna xunz,
rlnralnv Rrnlev. Russell willrarns ue-an srprre Walls, 1915
seplarnaer 1999 fauneen vlmpearninqs
carlrresy nnpna Hoffman callery, £a:111mage;4'/a lr 4 ‘/1 in. 111.4 lr 11.4
ChiC3\]O mn; lrarnear 13 lr 13 rn. <33 11 33 cm)
Eamon; e plus 4 printers pfoofs and
aaa. Arcs ana Bar-111s rn Crrlpn 1999 :1 anrsfs moms
srllrscreen Pnnxea by nprrs srrrrrrrelinu and mum
31 '/a x 39 1/» in, <80 1 loo cm) ny xeyur Parlrer ar crurrrn Pprm Press,
Ealnnn; 50 oanrlana, calnprnia
Printed ny Takesnl Ama, Vsutomu cpllearan or me Umversiiv p1
Kallrnaur, PierrefVincen\ Bralllarn. calrfprrua. serueley An Museum,
Rlenarn wma, Watanabe Studio Lm., 11111 of me artist
Brooklyn, New vera
Punlrsnea nv Eainuns scnellmann. sau srrflr wan cprnppsire 1971
New vorlr ann Munlcn alan-anrwnire pnrnngrapn
irrrage size: za va lr za 'lr in. 112.4 rr
asa Npnfsepnrenlf rprrrr #2 1999 12.4 crm; merau: ao 'la rr so ‘/e in.
Palnzea linerqlass (TLS 11 115 em)
24 ‘ls lr 20 1 5'/1111. callecnan of me Henry An Gallery,
<52,2 >r 50.11 ar 14 cm) unnrersizy at wasningmn. seame,
Cour\esy p1 the anisl Jfrsem am clarne upnsen Pmcpgrapny
cplienrpn. gin at Jnseuh ana Llama
aaa Npncepnrerrrs rprrrr sa, 1999 Nlpnsen andthe Boeing Company
Palnsea vrnerqlass
24 va 1 zz 11 10 in. aan-4 Pnprpqrins 1918
<sz.2 ar 55,9 1 25.4 cm) culpr pnmaqrapns mounted an paper
cpurresv ov me arlisl imecnanieals preparea lor reprpaue­
lion)
asa. Nmoenrnerrre rprrrr 41,1999 saen; 14 va rr 22 ’I41n.(362 yr sm my
Palncea linerqlass ­ Lewin cpllenipn
20 va 11 sa 1r1oin_
<52.1 11515 lr 25.4 rml urasa: Aurpoipgrapny 1950
courlesv ol the artist 1a1aan»anr1-wnire pnansqranns rmuneea
on new mseenanieals preparea rar
aa; Non-Geometrir Form are. 1999 reproduction)
Parnlea fiberglass 62 sneaes. eaens IZ lr 22 in.
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Cnurlesy ul lne arnsl Lewin cplleenun
ssr. Non-Geometric Farm 83,1999
Painted finerqlass
21 r sa va lr 9 =/r in.
(63.6 X 160.7 X 24.8 Cm)
caurcesy ul the arnsx
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50511 of nineteen p11o1oe1ch111ps pr1r11ea
on sor11erse1 Satm heavyweiohr paper
Each sheer; 11 111 111. 121.9 1 21,9 <111>
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for Graph1c Arts. crown 951111 Press
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New Vnrk
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0|M011ern Ar1,G111o1 :he Aaron 1.
F|e1sc11r11ar1 Founaanoh
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1990
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10 1 50 111. 11115 1152.4 crm
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111. omzcrs 5 Pos1:5s aaa cpnee Tan/e. 1951
wooa ahn r;|ass
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color 1r111 wash 011 wood panel 14512 1121.92 1121.92 crr11
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351. 50| LeW1llar111 sxeoheh Schermeyen
cpnee ran/e I/1, 1990
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coffee 1.15/e ///3, 1990-95 5acr1111o Cho. E111 rerquaoh,
s1ee/ ar1o ryass Ahoers re1r1 Pau1 Heooerp,
14'/21149 X 49 /n Gho1c111 N1s11111awa, 31111 Prez.
(36 B X124 5 X124 5 Cm) 5111111 R11=1ev. N/ro 1a1ash1rr1a
vrwa1e co1|ec115r1 Seviemhen 1995
Courtesy Pa¢ew1|oehs1e1r1, New York
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sa.. Prarrrpro. ng. 5. arrworlr o norrald lrrdd
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Schiff; pl. 57. Sludio Hartland; pl. gs. carlay Cmrven
pl. 59. lplrrr D. s<larm pl. or. upraardo srmla; pl. 15.
oorarlr.y /lllrra Memorial An ll/lamrrraa, Oberlin College,
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o Thr ll/laawirra of Modrrra Aa1,Nf~ York; pl. xp.
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Gregory lkrrsprr. pl. gp. André Morairr. pl. 5.1. ltolxn
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ubprarprip Polripranm luraapmi. pl. ma. Manira
lxirlalrr, roaarrrsy offrnllrrlar Krarrruarririaliaaap Basel:
pl, ro7. Frrqriirr Porodirrm. pl. ips. wplipaarp Gilnnell
pl. aop. oorirrrsy lolara wrlorr Gallery, New Yprlr.
pl. rio. [leonardo laenola. pl. 1.9. lm. Blackwell;
pl. 11.1. Grprgo Colombo. pl. 119. Parr Munro.
pl. 134. lldbprl la. Marr. and Parrl Kam pl. us: craamq
Clrrrruars. pl. ips. porirrrry mr Am Mrrmarris all sara
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pl. i5o. Grprgip Colombo; pl. .51 sara slmrwdl.
pparnrsy sarr Francisco Mraxraara of Modrra. Arr;
pl. re.. supliorr lar-ig. Plaproga-aplay pl. 163. ooaarrory
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pl. iso. croffrry clrirrorru. pix .67-isp. oprarrory
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pl. 171. Diem lmsmer; pls. 171-ip.. Sabine Alall1a-ar1d­
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courtesy Paula Cooper Gallcryn New Yorlp pl. .pr
Ray Andrrws: pls, 1o.Hpr. |p5¢pl1 Suszfai; pl. 1ro.
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pl, up. Marlodna. pl. 117. Michxel Traapra. pl. 154.
l. campbrll, rrialrrrsy Cesar P¢llr ar /lroppialra. pl. 139.
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pl. 156. Fred srrrrmra. pl. 157. dpairwsy Uma Galltry,
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