Eva Hesse

No title

Not on view



Latex, rope, string, and wire

Dimensions variable

Accession number

Credit line
Purchase, with funds from Eli and Edythe L. Broad, the Mrs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee

Rights and reproductions
© The Estate of Eva Hesse. Courtesy of Hauser & Wirth; photograph by Sheldan C. Collins

Like much of Eva Hesse’s work, No Title substitutes fragile substances and irregular, organic forms for the rigid geometries and industrial materials of Minimalism, one of the dominant modes of art-making in the mid-1960s. The sculpture is one of Hesse’s last works before her untimely death at the age of thirty-four. To create it, Hesse dipped two separate pieces of knotted rope into liquid latex. The rope then hardened, providing an underlying weblike structure for the sculpture’s gracefully arching loops and dense, twisted segments. It attaches to the ceiling and walls in thirteen points, but these placements are flexible to allow for variable installations. This mutability was in keeping with Hesse’s intention for the work. A drawing she made while conceptualizing the piece was accompanied by a note which read, "hung irregularly tying knots as connections really letting it go as it will. Allowing it to determine more of the way it completes its self."       


  • Making Knowing: Craft in Art, 1950–2019, Kids

    Eva Hesse, No Title, 1969–1970

    Eva Hesse, No Title, 1969–1970


    Narrator: To make this sculpture, Eva Hesse took knotted ropes and dipped them in liquid latex, a kind of rubber that hardens when it’s exposed to the air. Her only instructions about how to install it was that it should hang from thirteen points—but she planned to let the person hanging it decide where exactly those points should be.

    Sculpture is one of the oldest art forms in the world. And from the beginning, it was meant to be solid and permanent—a good means of remembering a victory in war or a ruler who had passed away. By contrast, Hesse’s sculpture is flexible and open to change. If the old approach to sculpture was about remembering the past, maybe her work invites us to focus on what is happening right here in the present. 

Eva Hesse
6 works

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