A beautiful and humble
object, where neither artist plays the dominant role, thus sits perfectly
in the
world of
concrete poetry for which Finlay was such a catalyst
in the 1960s, suggesting
real friendship between the two artists skilfully exploited by the publisher.
At L.A. Louver, a sharply focused show zeros
in on LeWitt's capacity to transform abstract ideas into
concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear
in the
real world.