Sol LeWitt (1928-2007) is undeniably one of the most influential artists of our time. In the catalog for his 1978 retrospective at New York’s Museum of Modern Art, Bernice Rose, former Curator of Drawings, said that LeWitt's innovative work drawing directly on walls “was as important for drawing as Pollock’s use of the drip technique had been for painting in the 1950s.”
While he is often considered to be primarily a sculptor, LeWitt has worked extensively in drawing and printmaking. LeWitt’s most characteristic work is often based on connected open cubes and have titles like “Modular Wall Structure” and “Double Modular Cube” (as with his sculptures), or his early wall drawings based on grids. As a result he often described as a Minimalist. Here, LeWitt maintains his standard cube structures but his use of color adds a more complex and dynamic element to his iconic forms.
His goal in creating conceptual work has been to explore in an impersonal way formulas with which structures are created and to focus on abstract philosophical theories, disassociated from religion and personal emotions. Absolutely essential to LeWitt's work is his conviction that the concept, ie. the planning is far more important than the execution.
LeWitt began exhibiting in New York in the early 1960s and since then has had many exhibitions in galleries and museums around the world, including the Gemeentemuseum, The Hague, Holland; the Kunsthalle, Berne, Switzerland; the Rijksmuseum Kroller-Muller, the Netherlands; the Wadsworth Atheneum, Hartford, CT; and the Museum of Contemporary Art, Chicago.

Unexamined outside of the frame.