After viewing this remarkable exhibition of 25 years of wall drawings (1968–93), one might say that Sol LeWitt has realized, with whatever conceptual perversity and ironical perfection, the avant-garde’s great dream of decorative abstraction. The goal was a formally fundamental, transcendentally sublime, and subversively expressive art. Like music, its pure forms were to lift us out of the world of ordinary experience and bring us to consciousness of usually unconscious, extraordinarily intense emotions. It may seem strange to begin a review of what is billed as a conceptual tour de force on