PRINT December 1995

Kenneth Baker


SOL LEWITT’s show at the Ace Gallery in New York was the most memorable one I saw in 1995. Playing out obvious structural permutations in classic Minimalist style, LeWitt filled each of Ace Gallery’s huge skylit rooms with towering, systemic, bottom-heavy constructions of cinderblocks. Their tremendous scale made these structures read as crushing arguments for the perversion of sculpture by architecture, and vice versa. The largest piece—an enormous open grid of thick, chest-high walls with a tall tower surmounting each juncture—consumed space so greedily that it seemed to swallow the very building containing it.

In its implicit squandering of resources and labor and its airless, hammering structural logic, one could see LeWitt’s show as an artistic mirror of ’90s capitalist triumphalism and the hardening of hearts and class barriers it entails. The show gave me nightmares,

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