Los Angeles

Sol Lewitt

Pasadena Museum of California Art (PMCA)

Sol Lewitt’s show at PAM is, at last, the kind of exhibition which a museum of contemporary art should mount: less grandiose than a full-blown retrospective, broader, more profound (more room?) than a gallery outing, fully exploitative of the building’s assets, yet conscious of its limitations (forcing museums into logistical foolery—not to be confused with out-front political overthrow, which is past-due—is now as entertaining as throwing snowballs at dowagers). The timing is right because LeWitt’s momentum, a dogma of purity, has got him to the delta where the water is warmer, slower, the soil fertile, and where a variety of flora chance to grow. Pasadena displays hard-core systemic sculpture, serial drawings, drawings in color (the most crucialwork in the show), and wall drawings so broad and diffuse as to constitute environments; each different enough to be engaging, coherent enough

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