View source for Sol LeWitt

{{Short description|American artist (1928–2007)}}
{{Use mdy dates|date=November 2021}}
{{Infobox artist
| name          = Sol LeWitt
| image         = Sol LeWitt.jpg
| image_size    =
| caption       = Sol LeWitt, c.1965
| birth_name    = Solomon LeWitt
| birth_date    = {{Birth date|1928|9|9|mf=y}}
| birth_place   = [[Hartford, Connecticut|Hartford]], Connecticut, US
| death_date    = {{Death date and age|2007|4|8|1928|9|9|mf=y}}
| death_place   = New York City, US
| known_for     = Painting, Drawing, Sculpture
| training      = [[Syracuse University]], [[School of Visual Arts]]
| movement      = [[Conceptual Art]], [[Minimalism]]
| notable_works =
| patrons       =
| awards        = 
}}
'''Solomon''' "'''Sol'''" '''LeWitt''' (September 9, 1928 – April 8, 2007) was an American artist linked to various movements, including [[conceptual art]] and [[minimalism]].<ref>McNay, Michael. "[https://www.theguardian.com/news/2007/apr/11/guardianobituaries.usa Obituary: Sol LeWitt: American artist whose treatment of forms and colours defied critical analysis]". [[The Guardian]], April 11, 2007. Accessed April 17, 2011.</ref>

LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred to "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, painting, installation, and artist's books. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965. The first biography of the artist, ''Sol LeWitt: A Life of Ideas'', by Lary Bloom, was published by Wesleyan University Press in the spring of 2019.<ref>{{Cite book|url=https://books.google.com/books?id=sr6SDwAAQBAJ&q=sol+lewitt%3A+a+life+of+ideas|title=Sol LeWitt: A Life of Ideas|last=Bloom|first=Lary|date=April 16, 2019|publisher=Wesleyan University Press|isbn=9780819578709|language=en}}</ref>

==Life==
[[Image:Untitled --lithograph-- by --Sol LeWitt--, 1992.jpg|thumb|left|200px|Sol LeWitt, Untitled [[lithograph]] 1992]]
LeWitt was born in [[Hartford, Connecticut]], to a family of Jewish immigrants from Russia. His father died when he was 6.<ref>{{cite web|title=Sol LeWitt|url=https://www.theartstory.org/artist/lewitt-sol/|access-date=3 August 2022}}</ref> His mother took him to art classes at the [[Wadsworth Atheneum]] in Hartford.<ref>Michael Kimmelman (April 9, 2007), [https://www.nytimes.com/2007/04/09/arts/design/09lewitt.html Sol LeWitt, Master of Conceptualism, Dies at 78] ''[[New York Times]]''.</ref>  After earning a [[Bachelor of Fine Arts|BFA]] from [[Syracuse University]] in 1949, LeWitt traveled to Europe where he was exposed to [[Old Master]] paintings. Shortly thereafter, he served in the [[Korean War]], first in [[California]], then [[Japan]], and finally [[Korea]]. LeWitt moved to New York City in 1953 and set up a studio on the Lower East Side, in the old Ashkenazi Jewish settlement on [[Hester Street (Manhattan)|Hester Street]]. During this time he studied at the [[School of Visual Arts]] while also pursuing his interest in design at ''[[Seventeen (American magazine)|Seventeen]]'' magazine, where he did paste-ups, mechanicals, and photostats.<ref name=GuggenheimMuseum/> In 1955, he was a [[graphic designer]] in the office of architect [[I.M. Pei]] for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer [[Eadweard Muybridge]], whose studies in sequence and locomotion were an early influence for him. These experiences, combined with an entry-level job as a night receptionist and clerk he took in 1960 at the [[Museum of Modern Art]] (MoMA) in New York, would influence LeWitt's later work.

At MoMA, LeWitt's co-workers included fellow artists [[Robert Ryman]], [[Dan Flavin]], [[Gene Beery]], and [[Robert Mangold]], and the future art critic and writer, [[Lucy Lippard]] who worked as a page in the library. Curator [[Dorothy Canning Miller]]'s now famous 1960 "Sixteen Americans" exhibition with work by [[Jasper Johns]], [[Robert Rauschenberg]], and [[Frank Stella]] created a swell of excitement and discussion among the community of artists with whom LeWitt associated. LeWitt also became friends with [[Hanne Darboven]], [[Eva Hesse]], and [[Robert Smithson]].

LeWitt taught at several New York schools, including [[New York University]] and the [[School of Visual Arts]], during the late 1960s. In 1980, LeWitt left New York for [[Spoleto, Italy]]. After returning to the United States in the late 1980s, LeWitt made [[Chester, Connecticut]], his primary residence.<ref name=GuggenheimMuseum>Solomon R. Guggenheim Museum. [http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Sol%20LeWitt&page=1&f=Name&cr=5 Collection online: Sol LeWitt] {{Webarchive|url=https://web.archive.org/web/20120312074737/http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Sol%20LeWitt&page=1&f=Name&cr=5 |date=March 12, 2012 }}. Accessed April 17, 2011.</ref> He died at age 78 in New York from cancer complications.<ref>[[Neda Ulaby|Ulaby, Neda]]. "[https://www.npr.org/templates/story/story.php?storyId=9481440 Sol LeWitt: conceptual art pioneer dies at 78.]" [[All Things Considered]], [[NPR]], April 9, 2007. Accessed April 17, 2011.</ref>

==Work==
LeWitt is regarded as a founder of both [[Minimal art|Minimal]] and [[Conceptual art]].<ref name=GuggenheimMuseum/> His prolific two and three-dimensional work ranges from wall drawings (over 1200 of which have been executed) to hundreds of works on paper extending to structures in the form of [[tower]]s, [[pyramid]]s, geometric forms, and progressions. These works range in size from books and gallery-sized installations to monumental outdoor pieces. LeWitt's first serial sculptures were created in the 1960s using the modular form of the square in arrangements of varying visual complexity. In Issue 5 of [[0 to 9 Magazine|''0 To 9'' magazine]], LeWitt's work 'Sentences on Conceptual Art' was published.This piece became one of the most widely cited artists' writings of the 1960s, exploring the relationship between art, practice and [[art criticism]].<ref>{{Cite journal |last=Lovatt |first=Anna |date=2012 |title=The mechanics of writing: Sol LeWitt, Stéphane Mallarmé and Roland Barthes |url=https://www.tandfonline.com/doi/full/10.1080/02666286.2012.740187 |journal=Word & Image: A Journal of Verbal/Visual Enquiry |language=en |volume=28 |issue=4 |pages=374–383 |doi=10.1080/02666286.2012.740187 |issn=0266-6286}}</ref> In 1979, LeWitt participated in the design for the [[Lucinda Childs]] Dance Company's piece ''Dance''.<ref name="Lucinda Childs Dance- History">{{Cite web|url=http://www.lucindachilds.com/history.php|title = Lucinda Childs Dance - History}}</ref>

===Sculpture===

In the early 1960s, LeWitt first began to create his "structures," a term he used to describe his three-dimensional work.<ref name="barbaramathesgallery">[http://www.barbaramathesgallery.com/exhibitions/2011_4_sol-lewitt-structures-and-dra/?view=pressrelease Sol LeWitt: Structures and Drawings, April 28 - June 30, 2011] {{webarchive|url=https://web.archive.org/web/20110519135449/http://www.barbaramathesgallery.com/exhibitions/2011_4_sol-lewitt-structures-and-dra/?view=pressrelease |date=May 19, 2011 }} Barbara Mathes Gallery, New York.</ref> His frequent use of open, modular structures originates from the [[cube]], a form that influenced the artist's thinking from the time that he first became an artist. After creating an early body of work made up of closed-form wooden objects, heavily lacquered by hand, in the mid-1960s he "decided to remove the skin altogether and reveal the structure."  This skeletal form, the radically simplified open cube, became a basic building block of the artist's three-dimensional work. In the mid-1960s, LeWitt began to work with the open cube: twelve identical linear elements connected at eight corners to form a skeletal structure. From 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel by industrial fabricators. Several of LeWitt's cube structures stood at approximate eye level. The artist introduced bodily proportion to his fundamental sculptural unit at this scale.<ref name="sollewitt.publicartfund">[http://sollewitt.publicartfund.org/exhibition/# Sol LeWitt: Structures 1965-2006, May 24 – December 2, 2011] Public Art Fund, New York.</ref>

Following early experimentation LeWitt settled on a standard version for his modular cubes, circa 1965: the [[negative space]] between the beams would stand to the [[positive space]] of the sculptural material itself in a ratio of 8.5:1, or <math>\frac{17}{2}</math>.<ref name="sfmoma">{{cite web |url=https://www.sfmoma.org/press/release/sfmoma-acquires-important-early-structure-work-by/ |title=SFMoMA Acquires Important Early Structure Work by Sol LeWitt |website=[[San Francisco Museum of Modern Art]] |date=July 18, 2011}}</ref><ref name="whitney">{{cite web |url=https://whitney.org/collection/works/7187 |title=Sol LeWitt: Five Towers (1986) |website=[[Whitney Museum of American Art]]}}</ref>  The material would also be painted white instead of black, to avoid the "expressiveness" of the black color of earlier, similar pieces.  Both the ratio and the color were arbitrary aesthetic choices, but once taken they were used consistently in several pieces which typify LeWitt's "modular cube" works.<ref name="moma">{{cite web |url=https://monoskop.org/images/a/a1/Sol_LeWitt_MoMA_1978.pdf |editor-last=Legg |editor-first=Alicia |title=Sol LeWitt |publisher=[[The Museum of Modern Art]] |year=1978 |pages=59, 71, 27}}</ref>  Museums holding specimens of LeWitt's modular cube works have published lesson suggestions for elementary education, meant to encourage children to investigate the mathematical properties of the artworks.<ref name="nga">{{cite web |url=https://www.nga.gov/education/teachers/lessons-activities/new-angles/sol-lewitt.html |title=Sol LeWitt's Concepts and Structures |website=[[National Gallery of Art]]}}</ref><ref name="vmfa">{{cite web |url=https://www.vmfa.museum/learn/resources/lesson-concept-sol-lewitt-123456/ |title=Lesson Concept: Sol LeWitt 1 2 3 4 5 6 |website=[[Virginia Museum of Fine Arts]]}}</ref>

Beginning in the mid-1980s, LeWitt composed some of his sculptures from stacked cinder blocks, still generating variations within self-imposed restrictions. At this time, he began to work with concrete blocks. In 1985, the first cement ''Cube'' was built in a park in [[Basel]].<ref>[http://ps1.org/exhibitions/view/220 Sol LeWitt: Concrete Block, December 17, 1999 - February 27, 2000.] MoMA P.S.1 Contemporary Art Center, New York. Accessed April 17, 2011.</ref> From 1990 onwards, LeWitt conceived multiple variations on a tower to be constructed using concrete blocks.<ref name="sollewitt.publicartfund" /> In a shift away from his well-known geometric vocabulary of forms, the works LeWitt realized in the late 1990s indicate vividly the artist's growing interest in somewhat random curvilinear shapes and highly saturated colors.<ref>[http://www.metmuseum.org/special/Sol_LeWitt/lewitt_more.htm#1 Sol LeWitt on the Roof: Splotches, Whirls and Twirls, April 26, 2005 – October 30, 2005] [[Metropolitan Museum of Art]], New York.</ref>

In 2007, LeWitt conceived ''9 Towers'', a cube made from more than 1,000 light-coloured bricks that measure five meters on each side. It was installed at the Kivik Art Centre in Lilla Stenshuvud, Sweden, in 2014.<ref>Gareth Harris and Hanne Cecilie Gulstad (January 1, 2014), [http://theartnewspaper.com/articles/Europe-is-set-for-a-summer-of-big-sculpture/31371 Europe is set for a summer of big sculpture] {{webarchive|url=https://web.archive.org/web/20140106185222/http://www.theartnewspaper.com/articles/Europe-is-set-for-a-summer-of-big-sculpture/31371 |date=January 6, 2014 }} ''[[The Art Newspaper]]''.</ref>

===Wall drawings===
 
In 1968, LeWitt began to conceive sets of guidelines or simple diagrams for his two-dimensional works drawn directly on the wall, executed first in [[graphite]], then in [[crayon]], later in colored pencil and finally in chromatically rich washes of [[India ink]], bright acrylic paint, and other materials.<ref>Christopher Knight (April 10, 2007), [https://www.latimes.com/archives/la-xpm-2007-apr-10-me-lewitt10-story.html Sol LeWitt, 78; sculptor and muralist changed art] ''[[Los Angeles Times]]''.</ref> Since he created a work of art for [[Paula Cooper Gallery]]'s inaugural show in 1968,<ref name="paulacoopergallery.com">[http://www.paulacoopergallery.com/exhibitions/545 Sol LeWitt, September 3 - October 10, 2013] [[Paula Cooper Gallery]], New York.</ref> an exhibition to benefit the Student Mobilization Committee to End the War in Vietnam, thousands of LeWitt's drawings have been installed directly on the surfaces of walls.<ref>[http://www.albrightknox.org/collection/collection-highlights/piece:wall-drawing-1268-scribbles-staircase-akag-/ Sol LeWitt, ''Wall Drawing #1268: Scribbles: Staircase (AKAG)'' (2006)] [[Albright-Knox Art Gallery]], Buffalo.</ref> Between 1969 and 1970 he created four "Drawings Series", which presented different combinations of the basic element that governed many of his early wall drawings. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts, each containing one of the four basic types of lines LeWitt used (vertical, horizontal, diagonal left, and diagonal right). The result is four possible permutations for each of the twenty-four original units. The system used in Drawings Series I is what LeWitt termed 'Rotation,' Drawings Series II uses a system termed 'Mirror,' Drawings Series III uses 'Cross & Reverse Mirror,' and Drawings Series IV uses 'Cross Reverse'.<ref>[http://www.massmoca.org/lewitt/walldrawing.php?id=1211 Sol LeWitt, ''Wall Drawing 1211'', 2006] [[MASS MoCA]], North Adams, MA.</ref>
[[File:Sol lewitt 12 (122115855).jpg|thumb|Sol LeWitt's wall installation.]]
[[File:Sol lewitt 15 (122115951).jpg|thumb|Sol LeWitt's installation on the rooftop at the Metropolitan Museum of Art, 2005.<ref>{{Cite web |title=Sol LeWitt on the Roof |url=https://www3.metmuseum.org/exhibitions/listings/2005/sol-lewitt |access-date=2023-04-11 |website=The Metropolitan Museum of Art}}</ref>]]

In ''Wall Drawing #122'', first installed in 1972 at the [[Massachusetts Institute of Technology]] in Cambridge, the work contains "all combinations of two lines crossing, placed at random, using arcs from corners and sides, straight, not straight and broken lines" resulting in 150 unique pairings that unfold on the gallery walls. LeWitt further expanded on this theme, creating variations such as ''Wall Drawing #260'' at the [[Museum of Modern Art]], New York, which systematically runs through all possible two-part combinations of arcs and lines.<ref>[http://paulacoopergallery.com/exhibitions/504 Sol LeWitt: Arcs and Lines, May 7 - August 26, 2011] Paula Cooper Gallery, New York.</ref> Conceived in 1995, ''Wall Drawing #792: Black rectangles and squares'' underscores LeWitt's early interest in the intersections between art and architecture. Spanning the two floors of the Barbara Gladstone Gallery, Brussels, this work consists of varying combinations of black rectangles, creating an irregular grid-like pattern.<ref>[https://archive.today/20130124075014/http://www.gladstonegallery.com/lewitt.asp?id=2064 Sol LeWitt, September 11 - October 30, 2010] Barbara Gladstone Gallery, Brussels.</ref>

LeWitt, who had moved to Spoleto, Italy, in the late 1970s credited his transition from graphite pencil or crayon to vivid ink washes, to his encounter with the frescoes of [[Giotto]], [[Masaccio]], and other early Florentine painters.<ref name="paulacoopergallery.com"/> In the late 1990s and early 2000s, he created highly saturated colorful acrylic wall drawings. While their forms are curvilinear, playful and seem almost random, they are also drawn according to an exacting set of guidelines. The bands are a standard width, for example, and no colored section may touch another section of the same color.<ref>[http://www.massmoca.org/lewitt/walldrawing.php?id=1152 Sol LeWitt, ''Wall Drawing 1152: Whirls and twirls (Met)'', 2005] [[MASS MoCA]], North Adams, MA.</ref>

In 2005 LeWitt began a series of 'scribble' wall drawings, so termed because they required the draftsmen to fill in areas of the wall by scribbling with graphite. The scribbling occurs at six different densities, which are indicated on the artist's diagrams and then mapped out in string on the surface of the wall. The gradations of scribble density produce a continuum of tone that implies three dimensions.<ref>[http://www.massmoca.org/lewitt/walldrawing.php?id=1247 Sol LeWitt, ''Wall Drawing 1247: Scribbles 7. (PW)'', 2007] [[MASS MoCA]], North Adams, MA.</ref> The largest scribble wall drawing, ''Wall Drawing #1268'', is on view at the [[Albright-Knox Art Gallery]].

According to the principle of his work, LeWitt's wall drawings are usually executed by people other than the artist himself. Even after his death, people are still making these drawings.<ref>[http://www.nga.gov/exhibitions/lewittinfo.shtm Sol LeWitt] {{webarchive|url=https://web.archive.org/web/20111008062240/http://www.nga.gov/exhibitions/lewittinfo.shtm |date=October 8, 2011 }} [[National Gallery]], Washington, D.C.</ref> He would therefore eventually use teams of assistants to create such works. Writing about making wall drawings, LeWitt himself observed in 1971 that "each person draws a line differently and each person understands words differently".<ref>[[Adrian Searle]] (December 7, 2006), [https://www.theguardian.com/culture/2006/dec/07/2 Second thoughts] ''[[The Guardian]]''.</ref> Between 1968 and his death in 2007, LeWitt created more than 1,270 wall drawings.<ref>[[Jock Reynolds]] (June 13, 2009), [https://www.wsj.com/articles/SB10001424052970204456604574204210695323316 The Logical and the Lyrical: The stunning beauty of Sol Lewitt’s ‘Wall Drawing #146A’] ''[[Wall Street Journal]]''.</ref> The wall drawings, executed on-site, generally exist for the duration of an exhibition; they are then destroyed, giving the work in its physical form an ephemeral quality.<ref>[http://www.centrepompidou-metz.fr/en/sol-lewitt-wall-drawings-1968-2007#onglet-1 Sol LeWitt. Wall Drawings from 1968 to 2007] [[Centre Pompidou-Metz]].</ref> They can be installed, removed, and then reinstalled in another location, as many times as required for exhibition purposes. When transferred to another location, the number of walls can change only by ensuring that the proportions of the original diagram are retained.<ref>[http://www.tate.org.uk/art/artworks/lewitt-wall-drawing-1136-ar00165/text-summary Sol LeWitt, ''Wall Drawing #1136'' (2004)] [[Tate]], London.</ref>

Permanent murals by LeWitt can be found at, among others, the [[AXA Center]], New York (1984–85);<ref name="nytimes.com">Carol Vogel (July 4, 2013), [https://www.nytimes.com/2013/07/05/arts/design/sol-lewitt-wall-drawing-will-unfurl-in-uptown-manhattan.html LeWitt's Reach Extends To Another Lobby] ''[[New York Times]]''.</ref> The Swiss Re headquarters Americas in Armonk, New York, the [[Atlanta City Hall]], Atlanta (''Wall Drawing #581'', 1989/90); the [[Walter E. Washington Convention Center]], Washington, DC (''Wall Drawing #1103'', 2003); the [[Conrad Hotels|Conrad Hotel]], New York (''Loopy Doopy (Blue and Purple)'', 1999);<ref name="nytimes.com"/> the [[Albright-Knox Art Gallery]], Buffalo (''Wall Drawing #1268: Scribbles: Staircase (AKAG)'', 2006/2010);<ref>[http://www.albrightknox.org/collection/collection-highlights/piece:wall-drawing-1268-scribbles-staircase-akag-/ Sol LeWitt, ''Wall Drawing #1268: Scribbles: Staircase (AKAG)'' (2006/2010)] [[Albright-Knox Art Gallery]], Buffalo.</ref> [[Akron Art Museum]], Akron (2007); the [[59th Street – Columbus Circle (New York City Subway)|Columbus Circle Subway Station]], New York; The [[Jewish Museum (New York)]], New York; the Green Center for Physics at [[MIT]], Cambridge (''Bars of Colors Within Squares (MIT)'', 2007); the [[Embassy of the United States in Berlin]]; the [[Wadsworth Atheneum]]; and John Pearson's House, [[Oberlin, Ohio]]. The artist's last public wall drawing, ''Wall Drawing #1259: Loopy Doopy (Springfield)'' (2008), is at the United States Courthouse in [[Springfield, Massachusetts]] (designed by architect [[Moshe Safdie]]). ''Wall Drawing #599: Circles 18'' (1989) — a bull's eye of concentric circles in alternating bands of yellow, blue, red and white — was installed at the lobby of the [[Jewish Community Center]], New York, in 2013.<ref name="nytimes.com"/>

===Gouaches===
In the 1980s, in particular after a trip to Italy, LeWitt started using [[gouache]], an opaque water-based paint, to produce free-flowing abstract works in contrasting colors. These represented a significant departure from the rest of his practice, as he created these works with his own hands.<ref name="barbaramathesgallery" /> LeWitt's gouaches are often created in series based on a specific motif. Past series have included ''Irregular Forms'', ''Parallel Curves'', ''Squiggly Brushstrokes'' and ''Web-like Grids''.<ref>[http://www.paulacoopergallery.com/exhibitions/396 Sol LeWitt: Gouaches, September 6 - October 15, 2005.] [[Paula Cooper Gallery]], New York. Accessed April 17, 2011.</ref>

Although this loosely rendered composition may have been a departure from his earlier, more geometrically structured works visually, it nevertheless remained in alignment with his original artistic intent. LeWitt painstakingly made his own prints from his gouache compositions. In 2012, art advisor Heidi Lee Komaromi curated, "Sol LeWitt: Works on Paper 1983-2003", an exhibition revealing the variety of techniques LeWitt employed on paper during the final decades of his life.

===Artist's books===
From 1966, LeWitt's interest in seriality led to his production of more than 50 [[artist's books]] throughout his career; he later donated many examples to the Wadsworth Athenaeum's library. In 1976 LeWitt helped found [[Printed Matter, Inc]], a for-profit art space in the [[Tribeca]] neighborhood of New York City with fellow artists and critics [[Lucy Lippard]], Carol Androcchio, Amy Baker (Sandback), [[Edit DeAk]], Mike Glier, Nancy Linn, [[Walter Robinson (art critic and artist)|Walter Robinson]], [[Ingrid Sischy]], [[Pat Steir]], Mimi Wheeler, Robin White and Irena von Zahn. LeWitt was a signal innovator of the genre of the "artist's book," a term that was coined for a 1973 exhibition curated by Dianne Perry Vanderlip at [[Moore College of Art and Design]], Philadelphia.<ref name=PrintedMatter-LippardInterview-2006>{{cite web|last1=Ault|first1=Julie|title=Interview with Lucy R. Lippard on Printed Matter|url=http://printedmatter.org/tables/41|website=Printed Matter, Inc|access-date=July 28, 2015|date=December 2006}}</ref>

Printed Matter was one of the first organizations dedicated to creating and distributing artists' books, incorporating self-publishing, small-press publishing, and artist networks and collectives.<ref name=NorthwestReview-IntroArtistsBooks-1988>{{cite journal|last1=Gessert|first1=George|title=An Introduction to Artist's Books|journal=[[Northwest Review]]|date=January 1, 1988|volume=26|issue=1|pages=53–69|publisher=[[University of Oregon]]|location=Eugene, Oregon|issn=0029-3423|id={{ProQuest|1299906511}}}}</ref> For LeWitt and others, Printed Matter also served as a support system for avant-garde artists, balancing its role as publisher, exhibition space, retail space, and community center for the downtown arts scene,<ref name=NewYork-AfterAndy-1990>{{cite news|last1=Smith|first1=Dinitia|title=After Andy: Ingrid Sischy, Queen of the Downtown Art Scene, Takes over at Interview|url=https://books.google.com/books?id=YrUA24_g1QQC&q=ingrid%20sischy%20family&pg=PA44|access-date=July 25, 2015|work=[[New York (magazine)|New York]]|date=January 29, 1990|page=48}}</ref> in that sense emulating the network of aspiring artists LeWitt knew and enjoyed as a staff member at the Museum of Modern Art.

===Architecture and landscaping===
LeWitt collaborated with architect Stephen Lloyd to design a synagogue for his congregation [[Beth Shalom Rodfe Zedek]]; he conceptualized the "airy" synagogue building, with its shallow dome supported by "exuberant wooden roof beams", an homage to the [[Wooden synagogues of the former Polish-Lithuanian Commonwealth|wooden synagogues of eastern Europe]].<ref>{{Cite journal | last=Ivry | first=Benjamin | title=Sol LeWitt: A Jewish Artist's Leap Into the Unknown | journal=Forward | date=May 8, 2009 | url=http://forward.com/articles/105238/}}</ref><ref>{{Cite news | last=Zimmer | first=William | title=Art Takes a Prominent Spot In Chester's New Synagogue | newspaper=New York Times | date=December 9, 2001 | url=https://www.nytimes.com/2001/12/09/nyregion/art-art-takes-a-prominent-spot-in-chester-s-new-synagogue.html}}</ref>

In 1981, LeWitt was invited by the Fairmount Park Art Association (currently known as the [[Association for Public Art]]) to propose a public artwork for a site in [[Fairmount Park]]. He selected the long, rectangular plot of land known as the Reilly Memorial and submitted a drawing with instructions. Installed in 2011, ''Lines in Four Directions in Flowers'' is made up of more than 7,000 plantings arranged in strategically configured rows. In his original proposal, the artist planned an installation of flower plantings of four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2' height, with each color block comprising four to five species that bloom sequentially.<ref>[http://philamuseum.org/exhibitions/770.html Sol LeWitt: Lines in Four Directions in Flowers] [[Philadelphia Museum of Art]].</ref><ref>Chelsea Allison (June 5, 2012), [http://www.vogue.com/culture/article/the-supernaturalists-fresh-ellsworth-kelly-and-sol-lewitt-exhibitions-bloom-on-the-east-coast/#1 The Supernaturalists: Fresh Ellsworth Kelly and Sol LeWitt Exhibitions Bloom on the East Coast] {{webarchive|url=https://web.archive.org/web/20140331204945/http://www.vogue.com/culture/article/the-supernaturalists-fresh-ellsworth-kelly-and-sol-lewitt-exhibitions-bloom-on-the-east-coast/ |date=March 31, 2014 }} ''[[Vogue (magazine)|Vogue]]''.</ref>
[[File:Open Cubes.jpg|thumb|Sol LeWitt's ''Incomplete'' ''Open Cube'' series.]]

In 2004, ''Six Curved Walls'' sculpture was installed on the hillside slope of [[Crouse College]] on [[Syracuse University]] campus. The concrete block sculpture consists of six undulating walls, each 12 feet high, and spans 140 feet. The sculpture was designed and constructed to mark the inauguration of [[Nancy Cantor]] as the 11th [[Chancellor of Syracuse University]].<ref>{{cite news |last1=Gruber |first1=Samuel D. |author1-link=Samuel D. Gruber |title=At Syracuse University, Undulating Walls Commemorate Vanishing Barriers |url=https://forward.com/culture/3976/at-syracuse-university-undulating-walls-commemora/ |access-date=March 22, 2021 |work=[[The Forward]] |date=December 10, 2011}}</ref><ref>{{cite news |title=Light Work Collection / Artwork / Six Curved Walls, Syracuse [2487] |url=https://collection.lightwork.org/Detail/artworks/2007.130 |access-date=March 22, 2021 |work=[[Light Work]]}}</ref><ref>{{cite news |last1=Buckley |first1=Madeleine |title=Explore the SU campus through these 6 historic statues |url=http://dailyorange.com/2016/04/explore-the-su-campus-through-these-6-historic-statues/ |access-date=March 22, 2021 |work=[[The Daily Orange]] |date=April 24, 2016}}</ref>

==Collection==
Since the early 1960s he and his wife, Carol Androccio, gathered nearly 9,000 works of art through purchases, in trades with other artists and dealers, or as gifts.<ref>Genocchio, Benjamin. "[https://www.nytimes.com/2004/01/01/arts/lewitt-the-collector-filling-up-a-warehouse.html?src=pm LeWitt the collector, filling up a warehouse.]" New York Times, January 1, 2004. Accessed April 17, 2011.</ref> In this way he acquired works by approximately 750 artists, including [[Dan Flavin]], [[Robert Ryman]], [[Hanne Darboven]], [[Eva Hesse]], [[Donald Judd]], [[On Kawara]], [[Kazuko Miyamoto]], [[Carl Andre]], [[Dan Graham]], [[Hans Haacke]], [[Gerhard Richter]], and others. In 2007, the exhibition "Selections from The LeWitt Collection" at the [[Weatherspoon Art Museum]] assembled approximately 100 paintings, sculptures, drawings, prints, and photographs, among them works by Andre, [[Alice Aycock]], [[Bernd and Hilla Becher]], [[Jan Dibbets]], [[Jackie Ferrara]], [[Gilbert and George]], [[Alex Katz]], [[Robert Mangold]], [[Brice Marden]], [[Mario Merz]], [[Shirin Neshat]], [[Pat Steir]], and many other artists.<ref>[http://weatherspoon.uncg.edu/exhibitions/show/?title=lewitt-x-2 LeWitt x 2, September 9 – December 9, 2007] [[Weatherspoon Art Museum]], Greensboro, NC.</ref>

==Exhibitions==
[[Image:Tower 1984.jpg|thumb|right|200px|Sol LeWitt, ''Tower'', [[Figge Art Museum]], [[Davenport, Iowa]], USA, 1984.]]
LeWitt's work was first publicly exhibited in 1964 in a group show curated by [[Dan Flavin]] at the Kaymar Gallery, New York.<ref>Roberts, Veronica, ed. "Converging Lines: Eva Hesse and Sol LeWitt." Austin: Blanton Museum of Art. Distributed by Yale University Press, 2014.</ref>[[Dan Graham]]'s John Daniels Gallery later gave him his first solo show in 1965.<ref name=Kennedy>{{cite news|author=Kennedy, Randy|title=A Round Peg|url=https://www.nytimes.com/2009/06/28/arts/design/28kenn.html|date=June 26, 2009|work=The New York Times|access-date=June 7, 2009}}</ref> In 1966, he participated in the "[http://thejewishmuseum.org/exhibitions/other-primary-structures Primary Structures]" exhibit at the [[Jewish Museum (New York)|Jewish Museum]] in New York (a seminal show which helped define the minimalist movement), submitting an untitled, open modular cube of 9 units. The same year he was included in the "10" exhibit at [[Virginia Dwan|Dwan Gallery]], New York. He was later invited by [[Harald Szeemann]] to participate in "When Attitude Becomes Form," at the [[Kunsthalle Bern]], Switzerland, in 1969. Interviewed in 1993 about those years LeWitt remarked, "I decided I would make color or form recede and proceed in a three-dimensional way."

The [[Gemeentemuseum Den Haag|Gemeentemuseum]] in [[The Hague]] presented his first retrospective exhibition in 1970, and his work was later shown in a major mid-career retrospective at the [[Museum of Modern Art]], New York in 1978.<ref name=Cooper2009>[http://www.paulacoopergallery.com/exhibitions/59 Sol LeWitt: Works on Paper, May 8 - June 19, 2009.] Paula Cooper Gallery, New York. Accessed April 17, 2011.</ref> In 1972/1973, LeWitt's first museum shows in Europe were mounted at the [[Kunsthalle Bern]] and the [[Museum of Modern Art, Oxford]].<ref>[http://www.lissongallery.com/#/exhibitions/2004-09-15_sol-lewitt/ Sol LeWitt, September 15 - October 23, 2004.] Lisson Gallery, London.</ref> In 1975, Lewitt created "The Location of a Rectangle for the Hartford Atheneum" for the third MATRIX exhibition at the Wadsworth Atheneum Museum of Art. Later that year, he participated in the Wadsworth Atheneum's sixth MATRIX exhibition, providing instructions for a second wall drawing. MoMA gave LeWitt his first retrospective in 1978-79. The exhibition traveled to various American venues. For the 1987 [[Skulptur Projekte Münster]], Germany, he realized ''Black Form: Memorial to the Missing Jews'', a rectangular wall of black concrete blocks for the center of a plaza in front of an elegant, white Neoclassical government building; it is now installed at Altona Town Hall, [[Hamburg]]. Other major exhibitions since include ''Sol LeWitt Drawings 1958-1992'', which was organized by the [[Gemeentemuseum Den Haag|Gemeentemuseum]] in The Hague, the [[Netherlands]] in 1992 which traveled over the next three years to museums in the United Kingdom, Germany, [[Switzerland]], France, Spain, and the United States; and in 1996, the Museum of Modern Art, New York mounted a traveling survey exhibition: "Sol LeWitt Prints: 1970-1995". A major LeWitt [[retrospective]] was organized by the [[San Francisco Museum of Modern Art]] in 2000. The exhibition traveled to the [[Museum of Contemporary Art, Chicago]], and [[Whitney Museum of American Art]], New York.

In 2006, LeWitt's ''Drawing Series…'' was displayed at [[Dia:Beacon]] and was devoted to the 1970s drawings by the [[conceptual art]]ist. Drafters and assistants<ref>{{Cite web|date=2006|title=Sol LeWittDrawing Series . . .|url=https://www.diaart.org/media/_file/brochures/lewitt6-10.pdf|website=Dia Art Foundation}}</ref> drew directly on the walls using [[graphite]], [[colored pencil]], [[crayon]], and [[chalk]]. The works were based on LeWitt's complex principles, which eliminated the limitations of the canvas for more extensive constructions.
[[File:Olympic Sculpture Park 2014 03.JPG|thumb|Public installation by Sol LeWitt at Olympic Sculpture Park, 2014.]]

"Sol LeWitt: A Wall Drawing Retrospective", a collaboration between the [[Yale University Art Gallery]] (YUAG), [[MASS MoCA]] (Massachusetts Museum of Contemporary Art), and the [[Williams College Museum of Art]] (WCMA) opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts.<ref>[https://www.nytimes.com/2008/12/05/arts/design/05lewi.html?pagewanted=all&module=Search&mabReward=relbias%3As%2C%7B%222%22%3A%22RI%3A13%22%7D&_r=0 Holland Cotter, "Now in Residence: Walls of Luscious Austerity" ''New York Times,'' December 4, 2008.]</ref> The exhibition will be on view for 25 years and is housed in a three-story {{convert|27000|sqft|m2|adj=on}} historic mill building in the heart of MASS MoCA's campus fully restored by Bruner/Cott and Associates architects (and outfitted with a sequence of new interior walls constructed to LeWitt's specifications.) The exhibition consists of 105 drawings — comprising nearly one acre of wall surface — that LeWitt created over 40 years from 1969 to 2007 and includes<ref>{{Cite web |date=2015-10-20 |title=Sol LeWitt: A Wall Drawing Retrospective {{!}} MASS MoCA |url=https://massmoca.org/sol-lewitt/ |access-date=2025-02-17 |language=en-US}}</ref> several drawings never before seen, some of which LeWitt created for the project shortly before his death.

Furthermore, the artist was the subject of exhibitions at [[MoMA PS1|P.S. 1]] Contemporary Center, [[Long Island City]] (''Concrete Blocks'');<ref>[http://www.momaps1.org/exhibitions/view/220 MoMA PS1 Exhibition Page]</ref> the [[Addison Gallery of American Art]], [[Andover, Massachusetts|Andover]] (''Twenty-Five Years of Wall Drawings, 1968-1993''); and [[Wadsworth Atheneum]] Museum of Art, [[Hartford, Connecticut|Hartford]] (''Incomplete Cubes''), which traveled to three art museums in the United States. At the time of his death, LeWitt had just organized a retrospective of his work at the [[Allen Memorial Art Museum]] in [[Oberlin, Ohio]].
At Naples ''Sol LeWitt. L'artista e i suoi artisti'' opened at the Museo [[:it:Museo d'arte contemporanea Donnaregin|Madre]] on December 15, 2012, running until April 1, 2013.

==Museum collections==
LeWitt's works are found in the most important museum collections including: [[Tate Modern]], London, the [[Van Abbemuseum]], Eindhoven, [[National Museum of Serbia]] in Belgrade, [[Centre Georges Pompidou]], Paris, [[Hallen für Neue Kunst]] Schaffhausen, Switzerland, [[Australian National Gallery]], Canberra, Australia, [[Solomon R. Guggenheim Museum|Guggenheim Museum]], the Museum of Modern Art, New York, [[Dia:Beacon]], [[Jewish Museum (Manhattan)|The Jewish Museum]] in Manhattan, [[Pérez Art Museum Miami]],<ref>{{Cite web |title=Incomplete Open Cube 8/2 • Pérez Art Museum Miami |url=https://www.pamm.org/en/artwork/2006.37 |access-date=2023-04-11 |website=Pérez Art Museum Miami |language=en-US}}</ref> Florida, [[MASS MoCA]], North Adams, Massachusetts Institute of Technology List Art Center's Public Art Collection,<ref>{{Cite web |date=2022-01-13 |title=Bars of Color within Squares (MIT), 2007 {{!}} MIT List Visual Arts Center |url=https://listart.mit.edu/art-artists/bars-color-within-squares-mit-2007 |access-date=2023-04-11 |website=listart.mit.edu |language=en}}</ref> [[Cambridge, Massachusetts|Cambridge]], [[National Gallery of Art]], Washington D.C., and the [[Hirshhorn Museum and Sculpture Garden]].<ref>[http://www.lissongallery.com/#/artists/sol-lewitt/cv/ Sol LeWitt] [[Lisson Gallery]], London.</ref> The erection of Double Negative Pyramid by Sol LeWitt at Europos Parkas in Vilnius, Lithuania was a significant event in the history of art in post Berlin Wall era.

==Influence==
[[Image:Black Form White House.jpg|thumb|180px|''Black Form Dedicated to the Missing Jews'', Altona City Hall, [[Altona, Hamburg]], Germany, 1987.]]
Sol LeWitt was one of the main figures of his time; he transformed the process of art-making by questioning the fundamental relationship between an idea, the subjectivity of the artist, and the artwork a given idea might produce. While many artists were challenging modern conceptions of originality, authorship, and artistic genius in the 1960s, LeWitt denied that approaches such as [[Minimalism]], [[Conceptualism]], and [[Process art|Process Art]] were merely technical or illustrative of philosophy. In his ''Paragraphs on Conceptual Art'', LeWitt asserted that Conceptual art was neither mathematical nor intellectual but intuitive, given that the complexity inherent to transforming an idea into a work of art was fraught with contingencies.<ref>{{cite web |url=http://radicalart.info/concept/LeWitt/paragraphs.html |title = Paragraphs}}</ref> LeWitt's art is not about the singular hand of the artist; it is the idea behind each work that surpasses the work itself.<ref>{{Cite journal | title= Backstage Stars  | author= Adam D. Weinberg | publisher=CULTURE+TRAVEL  | date= August 21, 2007 | url=http://www.artinfo.com/news/story/25514/backstage-stars/ | access-date=April 29, 2008 }}</ref> In the early 21st century, LeWitt's work, especially the wall drawings, has been critically acclaimed for its economic perspicacity. Though modest—most exist as simple instructions on a sheet of paper—the drawings can be made again and again and again, anywhere in the world, without the artist needing to be involved in their production.<ref>{{Cite web|url=http://newsgrist.typepad.com/underbelly/2008/04/modest-proposal.html|title = Modest Proposals: Joe Scanlan on Artistic Production}}</ref>

==Art world==
His auction record of $749,000 was set in 2014 for his gouache on paperboard piece ''Wavy Brushstroke'' (1995) at [[Sotheby's]], New York.<ref>[http://www.sothebys.com/en/auctions/ecatalogue/2014/contemporary-art-day-sale-n09222/lot.226.html Sol LeWitt, ''Wavy Brushstroke'', Sale 226] Sotheby's, CONTEMPORARY ART DAY AUCTION, November 12, 2014, New York.</ref>

==Selected books==

* Bloom, Lary. ''Sol LeWitt: A Life of Ideas,'' Wesleyan University Press, 2019. ({{ISBN|978-0-8195-7868-6}})
* LeWitt, Sol. ''Arcs, from Corners & Sides, Circles, & Grids and All Their Combinations''. Bern, Switzerland: Kunsthalle Bern & Paul Biancini, 1972.
* LeWitt, Sol. ''The Location of Eight Points''. Washington, DC: Max Protetch Gallery, 1974.
* LeWitt, Sol. ''Photogrids''. New York: P. David Press, 1977/1978. {{ISBN|0-8478-0166-7}}
* Legg, Alicia (ed.).  ''Sol LeWitt: the Museum of Modern Art, New York''. New York: The Museum, 1978. {{ISBN|0-87070-427-3}}
* LeWitt, Sol. ''Geometric Figures & Color''. New York: H.N. Abrams, 1979.  {{ISBN|0-8109-0953-7}}
* LeWitt, Sol. ''Autobiography''. New York and Boston: Multiple and Lois and Michael K. Torf, 1980. {{ISBN|0-9605580-0-4}}
* LeWitt, Sol. ''Sol LeWitt Wall Drawings, 1968-1984''. [Amsterdam, Endhoven, and Hartford, CT: Stedelijk Museum, Van Abbemuseum, and Wadsworth Atheneum, 1984.] {{ISBN|90-70149-09-5}}
* LeWitt, Sol. ''Sol LeWitt Prints, 1970-86''. London: Tate Gallery, 1986. {{ISBN|0-946590-51-6}}
* LeWitt, Sol. ''Sol LeWitt Drawings, 1958-1992''. The Hague: Haags Gemeentemuseum, 1992. {{ISBN|90-6730-092-6}}
* LeWitt, Sol. ''Sol LeWitt, Twenty-Five Years of Wall Drawings, 1968-1993''. Andover, MA, and Seattle: Addison Gallery of American Art and University of Washington Press, 1993. {{ISBN|1-879886-34-0}}
* LeWitt, Sol. ''Sol LeWitt - Structures, 1962-1993''. Oxford: Museum of Modern Art, 1993. {{ISBN|0-905836-78-2}}
* LeWitt, Sol, Cristina Bechtler, and Charlotte von Koerber. ''100 Cubes''. Ostfildern: Cantz, 1996.  {{ISBN|3-89322-753-9}}
* LeWitt, Sol. ''Sol LeWitt, Bands of Color''. Chicago: Museum of Contemporary Art, 1999. {{ISBN|0-933856-58-X}}
* Garrels, Gary, and Sol LeWitt. ''Sol LeWitt: a Retrospective''. San Francisco and New Haven: San Francisco Museum of Modern Art and Yale University Press, 2000. {{ISBN|0-300-08358-0}}
* Gale, Peggy (ed.). ''Artists Talk: 1969–1977''. Halifax, NS: [[Nova Scotia College of Art and Design]], 2001. {{ISBN|0-919616-40-2}}
* LeWitt, Sol, Nicholas Baume, Jonathan Flatley, and Pamela M. Lee. ''Sol LeWitt: Incomplete Open Cubes''. Hartford, CT, and Cambridge, MA: Wadsworth Atheneum Museum of Art and MIT Press, 2001. {{ISBN|0-262-52311-6}}
* LeWitt, Sol, Dean Swanson, and Martin L. Friedman. ''LeWitt x 2: Sol LeWitt: Structure and Line: Selections from the LeWitt Collection''. Madison, WI: Madison Museum of Contemporary Art, 2006. {{ISBN|0-913883-33-6}}
* LeWitt, Sol. ''Sol LeWitt: Wall Drawings''. Bologna, Italy: Damiani, 2006. {{ISBN|88-89431-59-8}}
* Cross, Susan, and Denise Markonish (eds.). ''Sol LeWitt: 100 Views''. North Adams, MA, and New Haven, CT: Massachusetts Museum of Contemporary Art and Yale University Press, 2009. {{ISBN|978-0-300-15282-1}}
* Maffei, Giorgio, and Emanuele De Donno. ''Sol LeWitt: Artist's Books''. Sant'Eraclio di Foligno, Italy: Viaindustriae, 2009. {{ISBN|978-88-903459-2-0}}
*''LINES & FORMES (sic)'', Livre d'artiste (album de douze planches en noir et blanc), édité par YVON LAMBERT, Paris 1989, {{ISBN|978-2-900982-06-8}}.
* Roberts, Veronica (ed.), Lucy R. Lippard, and Kirsten Swenson. "Converging Lines: Eva Hesse and Sol LeWitt." Austin: Blanton Museum of Art. Distributed by Yale University Press, 2014. {{ISBN|0-300-20482-5}}
* ''An Exchange with Sol LeWitt'', introduction by Regine Basha (New York: [[Cabinet Magazine|Cabinet Books]], 2011). {{ISBN|9781932698527|1932698523}}
* Stolz, George, and Sol LeWitt. ''Sol LeWitt: Fotografía.'' Madrid, Spain: Fondación ICO / La Fábrica Editorial, 2003. {{ISBN|978-8495471734}}

==See also==
*[[54 Columns]]

== References ==
{{Reflist|colwidth=35em}}

==External links==
{{Commons category|Sol LeWitt}}
{{Wikiquote}}
*[http://www.paulacoopergallery.com/exhibitions/545.html Sol LeWitt exhibition at Paula Cooper Gallery, NYC 2013]
*[http://www.baeditions.com/sol-lewitt-artwork.htm Sol LeWitt artwork at Brooke Alexander Gallery]
* {{MoMA artist|3528}}
* [http://www.aaa.si.edu/collections/oralhistories/transcripts/lewitt74.htm Oral history interview with Sol LeWitt], 1974 July 15, Archives of American Art, Smithsonian Institution
* [http://www.boston.com/ae/theater_arts/articles/2008/11/16/in_vast_lewitt_show_absurdity_and_beauty/  In vast LeWitt show, absurdity and beauty] ''Boston Globe'', Boston, MA
* Cotter, Holland. [https://www.nytimes.com/2008/12/05/arts/design/05lewi.html Now in Residence: Walls of Luscious Austerity.]  ''New York Times'', December 4, 2008.
* Lacayo, Richard. [https://web.archive.org/web/20081121175628/http://www.time.com/time/arts/article/0,8599,1859612,00.html Sol LeWitt's Dazzling Line Drawings.] ''Time'' magazine, November 17, 2008.
* [https://web.archive.org/web/20070928014959/http://www.cincinnatiartmuseum.org/absolutenm/templates/ArtTempNews.aspx?articleid=523&zoneid=90  Exhibition at the Cincinnati Art Museum in 2008]
* [http://dreher.netzliteratur.net/3_LeWitt.pdf Thomas Dreher: Sol LeWitt: The two Series "Forms derived from a Cube" and "Pyramids"] ([[PDF]] file, 8 p., ca. 10 MB)
* Dreher, Thomas. [http://dreher.netzliteratur.net/3_Konzeptkunst_SolLeWitt2.html Sol LeWitt: Structures 1962-1993.] (German, illustrated review of an exhibition in 1993 at the Villa Stuck in Munich)
* Dreher, Thomas. [http://dreher.netzliteratur.net/3_Konzeptkunst_SolLeWitt3.html Sol LeWitt: "Pyramids" for Joseph Beuys, Munich 1986] (German, illustrations of a room in the Lenbachhaus in Munich with four wall drawings realized by LeWitt's crew in 1986)
* [http://www.crownpoint.com/artists/lewitt/ Crown Point Press] LeWitt's prints
* [https://web.archive.org/web/20080526022916/http://www.fundacionnmac.org/english/coleccion.php?id=71 Sol LeWitt at NMAC Foundation]
* Vogel, Carol. [https://www.nytimes.com/2009/09/14/arts/design/14lewitt.html Subway Riders Are Greeted by a Blast of Sol LeWitt Color] ''New York Times'', September 13, 2009.
* Kimmelman, Michael. [https://www.nytimes.com/2007/04/09/arts/design/09lewitt.html Sol LeWitt, Master of Conceptualism, Dies at 78.] ''New York Times'', April 9, 2007.
* [http://www.legacy.com/CTPost/DeathNotices.asp?page=lifestory&personid=87165940 Obituary] in the ''[[Connecticut Post]]''
* Associated Press. [https://web.archive.org/web/20120930103252/http://www.capecodonline.com/apps/pbcs.dll/article?AID=%2F20070409%2FNEWS%2F704090372 “Sol LeWitt, influential American artist, at 78.”] April 9, 2007.
* Gray, Sadie. [https://www.independent.co.uk/news/world/americas/conceptualist-pioneer-sol-lewitt-dies-aged-78-444088.html Conceptualist pioneer Sol LeWitt dies aged 78.] ''Independent'', UK, April 10, 2007.
* [http://www.artnet.com/artist/10484/sol-lewitt.html Sol LeWitt] on ArtNet.
* [https://archive.today/20110531030315/http://weblab.uni-lueneburg.de/socialsoftware/paradise/index.php/Sol_LeWitt Sol LeWitt Interviews, Conceptual Paradise, Leuphana University Lueneburg]
*[http://www.fundaciotapies.org/site/spip.php?rubrique458 Sol LeWitt's exhibition at Fundació Antoni Tàpies]
*[http://thejewishmuseum.org/collection/artist/sol-le-witt-american-1928-2007 Sol LeWitt at The Jewish Museum]

{{Minimal art}}

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