The Metropolitan Museum of Art/Madison Square Park/PaceWildenstein
Sol LeWitt’s practice might be perpetually fecund, but this summer still saw him achieve such an unprecedented level of visibility in New York City that one paper was prompted to unceremoniously declare it “The Summer of Sol.” LeWitts were encamped across the city, from the safe haven of PaceWildenstein to the tourist-packed roof of the Metropolitan Museum of Art and the leafy refuge of Madison Square Park. This ubiquity continued unabated through mid-October with Paula Cooper Gallery’s presentation of the artist’s gouache series “Horizontal Lines, Black on Color” (2005). Yet summer’s glut alone facilitated the drawing of distinctions between his various modes and fostered debate about the continued efficacy of his site-specific art.
LeWitt has famously been called our most gifted solipsist, a title that he has held since Conceptualism’s heyday in the late 1960s. Driven by ideas and only
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