This approach, pivotal to the development of Minimalist and Conceptual art during the 1960s and 1970s, not only freed color and line from their representational function, it also, according to LeWitt, helped reduce “the capricious” and “the subjective as much as possible.”
LeWitt had already serially used color and line in the early 1960s, but he assigned these building blocks a more predominant role once he began making artists’ books, in 1966, and prints, in 1970.
This exhibition, which featured a suite of lithographs and a sampling of artists’ books created between 1968 and 1977, explored how LeWitt’s serial use of color and line intersected with some of his early experiments with mechanical reproduction.