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PRINT October 2001

Sol LeWitt

BACK IN THE ’60S, I used to visit Lee Lozano’s studio pretty regularly. On some of these visits, she would present you with three objects—abstract objects, like small cubes—and tell you to arrange them on a tabletop. I remember her doing the “Wave” paintings, which I was very impressed with—and their premise. When they were first shown, everyone agreed it was a major statement. Lee’s relative disappearance from the historical records is sort of mysterious; the work was hardly negligible, so it’s hard to say why she didn’t have more of a career. It was definitely hard to make it as a woman artist, and she herself really withdrew from the world. The thing about not speaking with women went way beyond an art project. I remember sitting in a restaurant with her once and a waitress came to the table; not only would Lee not talk to her, she would hide her eyes. She had an extreme dislike for

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