new-york

Sol LeWitt

Candace Dwan Gallery

Certain art is deliberately aimed at the threshold of consciousness, at the fine line where awareness meets the void. Pointing to Muzak, the aural tranquilizer, some may claim all such art has to be pretty deadly. But the claim would be too broad. When used to challenge rather than stupefy, threshold art can render experience not duller but keener. An intriguing example is Sol Lewitt’s wall drawings at Dwan.

LeWitt works with wide expanses of texture so fine, so diaphanous, so unsubstantial that many are close to invisible. They float on their brilliantly lit walls like yard after yard of exquisite gauze. It is no coincidence that what faint patterns there are are really weaves, for LeWitt is interested in that most tantalizing of fabrics, the veil.

No Salome, a gallery wall is far more interesting with a veil than without. A veil changes the wall’s visual role from neutral background to

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