Not on view
Bass wood with alkyd enamel paint
Overall: 86 9/16 × 86 9/16 × 86 9/16in. (219.9 × 219.9 × 219.9 cm)
Whitney Museum of American Art, New York; purchase, with funds from the Louis and Bessie Adler Foundation, Inc., Seymour M. Klein, President, the John I. H. Baur Purchase Fund, the Grace Belt Endowed Purchase Fund, The Sondra and Charles Gilman, Jr. Foundation, Inc., The List Purchase Fund and the Painting and Sculpture Committee
Rights and reproductions
©Sol LeWitt/Artists Rights Society (ARS), New York
One of the pioneers of Conceptual art, Sol LeWitt gave primacy to the originating idea of a work of art rather than to its execution. LeWitt had been developing these ideas in three-dimensional objects he called “structures.” Based on the unit of an open rather than solid cube, the works peel away what he perceived as the decorative skin on traditional sculpture, revealing their underlying skeleton, or structure. Though he created structures in a range of scales and shapes—the permutations growing more intricate over the decades—LeWitt maintained the use of white cubes with a ratio of 1:8.5; that is, the open space between the edges of a cube is 8.5 times the width of each edge. Five Towers, a later, more complex structure, rises more than seven feet high, culminating in four towers on each corner of a square, with a fifth tower in the center.