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Sol LeWitt, Horizontal Progression #3 (detail), 1991, sprayed enamel on aluminum

Last night I went by AMOA to check out their LeWittx2 show that
"focuses both on the artworks of Sol LeWitt and on his personal
collection of contemporary art." It’s absolutely stunning, despite the
venue and the very unfortunate lighting design (dim, yellow bulbs here
and there). AMOA (or was it the Madison Museum of Contemporary Art‘s
Dean Swanson, the curator of the show?) were smart enough to select
work that stands on its own, and forewent things like wall drawings,
that require a nice space for it not to look like a blown up IKEA quilt pattern. Instead, LeWitt’s half of the show focuses on
prints, drawings, some paintings and LeWitt’s AMAZING sculptural works
(especially his "structures"), while the other half includes really
inspiring work by luminaries like Eva Hesse, Chuck Close, Gilbert &
, Steve Reich, Robert Smithson, Robert Ryman, Dan Graham and many
Robert Smithson, Mirror Vortex, 1965, aluminum with stainless steel overlay and mirror

I was very skeptical of this show but I have to say that beyond being a
brilliant artist, LeWitt was also a brilliant collector. His collection
makes so much sense it’s ridiculous. And what’s more, it offers a
pretty fantastic framework for understanding LeWitt’s concerns in his
own practice. The show is surprisingly meaty and gave me lots to think
about and mull over without being heavily didactic or preachy in its
curatorial choices.
Sol LeWitt, Splotch #20, 2006, fiberglass

With an artist as prolific and varied as LeWitt, it’s natural to not be
in love with everything he made, and I’ll admit I could care less for
his paintings and most of his drawings. However, his "structures" just
do something to me. I’m not the kind of person who wants to touch
things in museums, but LeWitt’s cubes are so beautiful and sensual that
I just want to caress them and feel the clean white lines with my own
hands. "There are many side effects that the artist cannot imagine,"

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