Sol LeWitt

Sol LeWitt’s structures grew from a radical simplification of sculptural form. After experimenting with closed, hand-finished wooden objects, he increasingly eliminated exterior surfaces in favor of exposed frameworks, arriving in the mid-1960s at the open cube: twelve equal linear elements joined at eight corners. This basic unit became the generative structure for an extraordinary range of permutations, progressions, incomplete forms, and large-scale modular works. In LeWitt’s practice, the physical object was less an autonomous sculpture than the visible realization of an underlying system or idea.

Structures 1962–1993 follows that development across more than three decades. The publication was produced for an exhibition that opened at the Museum of Modern Art Oxford in January 1993 before traveling to Villa Stuck in Munich, the Henry Moore Institute in Leeds, Fruitmarket Gallery in Edinburgh, and Neues Museum Weserburg in Bremen. It includes texts by David Batchelor, Rosalind Krauss, David Elliott, and Chrissie Iles, an index of LeWitt’s sculptures from 1962 to 1993, biography, bibliography, and extensive black-and-white illustrations. The catalogue itself was designed by LeWitt, echoing the visual logic of his 1978 Museum of Modern Art, New York catalogue.