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“Conceptual artists are mystics rather than rationalists.They leap to conclusions that logic cannot reach.”
— Sol LeWitt

LeWitt’s version of Conceptual Art in the 1960s and ‘70s emphasized the original idea that generates a work rather than the execution or final object. While often associated with straight lines and geometric forms, LeWitt always
explored irregular shapes as well. In the late 1990s, nongeometric forms became especially prominent in LeWitt’s wall drawings, sculptures, and large
gouache paintings, with each type of work informing the other. By 2000 LeWitt had begun a series of sculptures he called Splotches for their eccentric contours and bright colors. At over twelve feet tall, Splotch #22 is the
largest and most complex—as well as the last—of LeWitt’s nongeometric forms. Two working drawings are on the wall nearby.

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