Sol lewitt’s work operates in an architectural fashion, though it doesn’t desire any traditional notion of space, or enclosure, operating instead at a middle scale which is neither that of the abstract model, or the fully realized structure, but rather the large dollhouse. Often sized to interact with the body, it remains particularly relevant in today’s increasingly virtual world, at once solid and tactile, yet fleeting in it’s monolithic rendering. It is an object in space, which often denies one the possibility of understanding this same space. One is struck by the simple cubes which at present occupy the grounds of City Hall park in New York City. The largest of the cubes are the height of an average person, which has the effect of flattening the perspective of one’s encounter with it, leaving one with doubts about the reality of one’s reality. The abstract work has a similar quality about it, as again the monolithic white facets of the work have a quality of existing somewhere between the virtual landscape of painting, which represents shade, and the real shade which flows along it’s faces. In opposition to the wireframe cubes that he is perhaps most famous for, his facetted works hold the most power as objects experienced from a fixed perspective. As objects in motion their power is lost, and they may only be evaluated on the grounds of their aesthetic composition, which would be rather hollow, especially in our time of geometric complexity.