Sol LeWitt, “Variations of Incomplete Open Cubes,” 1974, painted aluminum.

Sol LeWitt, “Variations of Incomplete Open Cubes,” 1974, painted aluminum.

“Sol LeWitt: Incomplete Open Cubes”

Wadsworth Atheneum Museum of Art

THE WADSWORTH ATHENEUM'S RECENT Sol LeWitt exhibition included just one of the artist’s projects—and everything else in the museum. Curator Nicholas Baume scattered LeWitt’s 1974 “Variations of Incomplete Open Cubes” throughout the Wadsworth’s venerable galleries and then invited viewers to wander the building, discovering the stark white objects in conversation with their surroundings. It turns out they had a lot to say.

In contrast to the breadth of LeWitt’s exhaustive traveling retrospective, the Wadsworth’s focused approach afforded viewers a chance to consider the unfolding of a single major work in a variety of its manifestations. One of the exhibition’s galleries contained a group of methodical studies that demonstrated the artist’s dogged pursuit of the basic serial premise governing the “Incomplete Open Cubes”: the elaboration of every variation of an open-sided cube missing between

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