About Artifex Press
Artifex Press is a publisher of digital catalogues raisonnés. We have developed a proprietary, patented software platform and a dedicated research and publishing program in order to produce, edit, and distribute these seminal publications. A catalogue raisonné is the definitive, comprehensive, and annotated compilation of all the known works of an artist. Traditionally produced in book form, catalogues raisonnés have often posed a dilemma for scholars. Because the information in a catalogue raisonné is constantly in flux, printed catalogues raisonnés cannot achieve both completeness and accuracy. Artifex Press was conceived to resolve this problem. We offer a solution that is more accessible, more flexible, more time- and cost-efficient, and above all, more accurate and up-to-date than the traditional printed counterpart. Our approach combines the rigors of art-historical research with the flexibility of digital publishing. As a byproduct of each publication, we are creating digital archives for all the artists with whom we work. Artifex Press launched in 2012 with catalogues raisonnés of Chuck Close and Jim Dine. In 2014, we published our third catalogue, for Tim Hawkinson. In 2017, we published catalogues raisonnés for Agnes Martin, Lucas Samaras, and James Siena and launched our subscription service and a redesign of the website. In 2018, we published our seventh catalogue raisonné, Sol LeWitt Wall Drawings. In 2019, we embarked on major technology project to update and improve our capabilities, and in Winter 2019-20 we will publish two new volumes, Agnes Martin: Works on Paper and Chuck Close: Unique Works on Paper. We are currently working with some 20 artists, estates, and foundations, including Carl Andre, Anthony Caro, Robert Irwin, Lee Ufan, Niki de Saint Phalle, and Frank Stella.
AVAILABLE Chuck Close: Paintings Jim Dine: Sculpture, 1983-Present Tim Hawkinson Sol LeWitt Wall Drawings Agnes Martin: Paintings Lucas Samaras: Boxes James Siena
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COMING SOON [Winter 2019-20] Agnes Martin: Works on Paper Chuck Close: Unique Works on Paper
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FORTHCOMING Carl Andre: Sculpture Anthony Caro Tara Donovan John Hoyland: Paintings Robert Irwin Lee Ufan Thomas Nozkowski Niki de Saint Phalle, Vol. II Bosco Sodi Frank Stella: Polish Villages Yves Tanguy Richard Tuttle
Introductory Videos About Our Subscriptions Photography Credits
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Chuck Close: Paintings Edited by Carina Evangelista
The Chuck Close Catalogue Raisonné comprises two volumes: Chuck Close: Paintings, published in 2012, and the forthcoming Chuck Close: Unique Works on Paper. The first volume, Chuck Close: Paintings is the definitive list of paintings by Chuck Close since the launch of his mature phase in 1967. The catalogue, updated regularly to include Close’s most recent works, also features a selection of student works that pre-date 1967, along with selections of daguerreotypes and mosaics. Monumental in scale and exhaustive in detail, the catalogue is the most comprehensive and interactive publication about the artist to date. Each artwork record includes complete provenance, exhibition, and literature histories, excerpts from relevant published texts, and numerous illustrations including progress and exhibition photographs. Close’s only film, the 1970 Slow Pan for Bob, can be viewed in its entirety. The catalogue includes nearly 1,200 images, more than 100 quotations from the artist, and extensive exhibition and literature histories, documenting some 1,200 solo and group shows and 2,500 publications. The growing multimedia archive includes 70 video and audio files to date. Editor Carina Evangelista has enriched the catalogue with original scholarship, including three essays, one of which describes the artist’s landmark 1969 lawsuit, which contributed to freedom of expression through the visual arts. Carina Evangelista is Editor of the Chuck Close Catalogue Raisonné. Her research, curatorial, and publishing work straddles the United States and the Philippines. From 1994 to 2000, she worked in the education and curatorial departments at the Museum of Modern Art, New York, where she helped organize a number of exhibitions, including the traveling retrospective for Chuck Close, organized by Robert Storr in 1998. As curator at the Delaware Center for the Contemporary Arts in 2008-2009, Evangelista organized numerous exhibitions. A regular writer on Philippine contemporary art, she is contributing author to a number of publications, including Bastards of Misrepresentation (2010), retrospective exhibition catalogues for Roberto Chabet (2011) and Constancio Bernardo (2014), and Chabet’s monograph (2015). She wrote the libretto for the rock musical, Manhid (The Benumbed), staged by Ballet Philippines in 2015. Her first solo exhibition, Las Flores del Mal, opened at Mo_Space, Manila, in 2019.
Jim Dine: Sculpture, 1983-Present Edited by Sara K. Davidson
Jim Dine: Sculpture is the definitive publication of three-dimensional works created by the artist between 1983 and the present, the period during which he has worked extensively with Walla Walla Foundry in Washington. The catalogue raisonné details the artist’s entire output of freestanding sculpture from these years—more than 300 original works. It also lists comprehensive information for individual casts within editions, of which there are approximately 900 in total. Organized by chronological and thematic sections including Dine’s signature motifs like hearts, Venuses, and Pinocchios, the catalogue raisonné explores the artist’s three-dimensional work more thoroughly than any other publication to date. The publication details more than 260 solo exhibitions and 600 bibliographic entries and includes more than 1,000 images, notably allowing readers to click through photography to see sculptures in the round. In a series of conversations with Editor Sara K. Davidson in spring 2013, Jim Dine spoke at length about his body of work. Artifex Press produced 33 original videos from this dialogue, which are accessible exclusively in this catalogue raisonné.
Sara K. Davidson is the Senior Editor at Artifex Press and Editor of the Jim Dine Catalogue Raisonné. She has been extensively researching Dine’s sculptural practice since 2010. She contributed writing to the catalogue Peripheral Visions: Italian Photography in Context (Charta: 2012). She has previously held positions as the Cataloguer of the Evening Sales of Contemporary Art at Phillips de Pury & Company, and as Director of Marvelli Gallery in New York.
Edited by Hannah Barton The Tim Hawkinson catalogue raisonné contains detailed records for all of the artist’s works from 1986 to the present, with selected student works dating back as far as 1979, encompassing his entire boundary-breaking career thus far. Thousands of color images illustrate Hawkinson’s more than 570 artworks to date, and his written descriptions augment the reader’s understanding of key artworks. The catalogue is organized into chapters that highlight the artist’s unusual use of everyday materials, which range from latex to eggshell to found art objects that he transforms into creations of his own. The catalogue contains more than 100 whimsical self-portraits and 31 clocks made from milk cartons, toothpaste tubes, and other commonplace objects. Photography of individual artworks is supplemented with installation views, in-progress images, audio files, and videos showing kinetic works in motion. Comprehensive exhibition and literature histories document 150 solo and group exhibitions and 300 bibliographic entries. A living catalogue raisonné, the publication is updated as Hawkinson completes new works. This catalogue raisonné is the most up-to-date resource on the artist’s career.
Hannah Barton is Editor of the Tim Hawkinson Catalogue Raisonné. She graduated with a dual Master’s in Art History and Library Science from Pratt Institute in 2013, specializing in Art Librarianship as well as Modern and Contemporary Art. In addition to working with Tim Hawkinson to create his catalogue raisonné, she has also edited Lucas Samaras: Boxes (Artifex Press, 2017), and continues to collaborate with both artists on the upkeep of their respective catalogues. Barton has previously held positions through the New York Art Resources Consortium in the libraries of the Frick Collection and the Museum of Modern Art, and in the library of the Whitney Museum of American Art.
Sol LeWitt Wall Drawings
Edited by Lindsay Aveilhé Director of Research: Christopher Vacchio The Sol LeWitt Wall Drawings Catalogue Raisonné is the definitive publication of LeWitt’s most celebrated body of work. The result of more than a decade of continued research in close collaboration with the Estate of Sol LeWitt, the catalogue features comprehensive information for LeWitt’s approximately 1,350 wall drawings, comprising approximately 3,500 installations at more than 1,200 venues. Nearly every first installation of each wall drawing is illustrated with an archival photograph, and additional images illustrate subsequent installations—approximately 6,000 images in total. Also included are images of the wall drawing diagrams—schematics that indicate how a work is to be installed—and dozens of multimedia features, including rarely-seen timelapse installation videos and an audio file of LeWitt delivering installation instructions via telephone for the exhibition Art By Telephone at the Museum of Contemporary Art Chicago in 1969. Lindsay Aveilhé is Editor of the Sol LeWitt Wall Drawings Catalogue Raisonné. She has been researching Sol LeWitt’s wall drawings and collaborating with the Estate of Sol LeWitt since 2012. During that time, Aveilhé curated Sol LeWitt: Lines, Forms, Volumes at Galleria Alfonso Artiaco, Naples, Another Place at 205 Hudson Street Gallery, Hunter College, New York, and Sol LeWitt and Lucy McKenzie at the Artist’s Institute, New York. In 2020, Aveilhé’s essay “Long Live the Ephemeral: Cataloguing Sol LeWitt’s Wall Drawings” will be included in Locating LeWitt: Between Mind and Body (Yale University Press) and she curates the first solo exhibition of LeWitt’s work in Iceland at the Reykjavík Art Museum. Christopher Vacchio is the Director of Research of the Sol LeWitt Wall Drawings Catalogue Raisonné. He recently served as Research Fellow at the Aspen Art Museum and contributed to the catalogue for the museum’s exhibition Alan Shields: Protracted Simplicity (1966-1985). He has also held positions at the Hood Museum of Art at Dartmouth College, Judd Foundation, and as Curatorial Fellow at the New York-based nonprofit Art in General. 
Agnes Martin: Paintings Edited by Tiffany Bell
The Agnes Martin Catalogue Raisonné comprises two volumes: Agnes Martin: Paintings, published in 2017, and Agnes Martin: Works on Paper, forthcoming in 2019. The first volume, Agnes Martin: Paintings, is the product of more than seven years of research into the artist’s work and represents the most definitive and comprehensive study of the Martin’s oeuvre to date. Agnes Martin: Paintings provides complete documentation of more than 630 paintings from Martin’s student paintings from the late 1940s through her final works in 2004. Also included are some half dozen constructions (mixed media collages and assemblages) and her one film, Gabriel. Agnes Martin: Paintings contains approximately 1,500 high-resolution photographs, and a zoom feature allows for extremely detailed views of artworks. Multimedia highlights include never-before-published manuscripts, archival photography of the artist, audio recordings, and video files, in addition to many newly commissioned images of artworks. Other notable content includes an illustrated chronology, two essays by Editor Tiffany Bell, and six bibliographies, one of which is specific to the Artist’s Writings and Interviews. Tiffany Bell is Editor of the Agnes Martin Catalogue Raisonné and a co-curator of the 2015-2017 traveling Martin retrospective that visited the Tate Modern in London, Kunstsammlung Nordrhein-Westfalen in Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum in New York. She was the director of the Dan Flavin Catalogue Raisonné project, which resulted in the publication of Dan Flavin: The Complete Lights, 1961-1996 (Dia; Yale University Press: 2004), and served as curator for several museum and gallery exhibitions of Flavin’s lights. Bell has taught in the art department at Pratt Institute and has worked for many years as a freelance curator and art critic with articles appearing in Art in America, Arts Magazine, and Artforum, among other publications. 
Lucas Samaras: Boxes
Edited by Hannah Barton Consulting Editor: Vanessa Wildenstein Lucas Samaras: Boxes is the definitive exploration of the artist’s iconic, mixed media series, a total of 295 artworks begun in the early 1960s. Samaras’s boxes delve into the subject of the self, allowing viewers access into the artist’s mind through personal and found objects or manipulated self-portraits, which are sometimes guarded by pins, razor blades, or broken glass. In addition, many works are distortions of the form of the box itself, with playful multicolored appendages or constructions made entirely of chicken wire. Also included are related room-sized installations, such as the artist’s celebrated Mirrored Room (1966). Lucas Samaras: Boxes contains vivid color photography of artworks, with images of both the open and closed states of boxes, and provides an extensive collection of primary source documents such as the artist’s note cards, notebooks, and drawings, plus archival photography from important exhibitions from the 1960s and 1970s. In addition, Artifex Press has created a series of videos for the catalogue raisonné displaying the moving components of boxes in the round. Hannah Barton is Editor of the Lucas Samaras: Boxes catalogue raisonné. She graduated with a dual Master’s in Art History and Library Science from Pratt Institute in 2013, specializing in Art Librarianship as well as Modern and Contemporary Art. In addition to working with Lucas Samaras to create his boxes catalogue raisonné, she has also edited the Tim Hawkinson catalogue raisonné (Artifex Press, 2015), and continues to collaborate with both artists on the upkeep of their respective catalogues. Barton has previously held positions through the New York Art Resources Consortium in the libraries of the Frick Collection and the Museum of Modern Art, and in the library of the Whitney Museum of American Art. Research for this project was started in 2004 by Vanessa Wildenstein, at the behest of the artist and under the auspices of the Wildenstein Institute. Artifex Press inherited the catalogue in 2015, and it was placed under the direction of Editor Hannah Barton, with Vanessa Wildenstein serving as Consulting Editor.
Edited by Ariela Alberts James Siena’s catalogue raisonné is the definitive record of all works created by the artist dating back to 1989, the year that he began to paint almost exclusively on metal, a decision that defined his painting practice for nearly three decades, until he began painting large-scale canvases in 2017. Also included is an extensive selection of early works dating from 1977 to 1988. James Siena (b. 1957) is actively creating new work, and the catalogue raisonné will expand as his oeuvre grows. To date, the catalogue contains records of more than 450 artworks, 450 publications, and 330 exhibitions. There are approximately 1,000 high-resolution images, hundreds of which have never been published before, and recently unearthed audio and video content can be found in a multimedia archive. Siena’s voice is found throughout the catalogue in excerpts of interviews and, notably, in comments that he has written exclusively for this publication. The first volume of the catalogue raisonné, published in February 2017, includes the artist’s paintings, sculptures, and gouache works. A volume of the artist’s drawings will follow.
Ariela Alberts is Associate Editor at Artifex Press and Editor of the James Siena Catalogue Raisonné. She has been actively researching Siena’s body of work and collaborating directly with the artist and his studio on this project since 2014. Prior to working for Artifex Press, Alberts contributed research to Shannon Jackson’s “Life Politics/Life Aesthetics: Environmental Performance in red, black & GREEN: a blues” for Performance and the Politics of Space: Theatre and Topology (Routledge: 2013) and to Darcy Grimaldo Grigsby’s book-in-progress, Creole Looking: Portraying France’s Foreign Relations in the Nineteenth Century. She received a B.A. in the History of Art from the University of California, Berkeley, in 2013.
Coming Soon [Winter 2019-20]
Agnes Martin: Works on Paper Edited by Tiffany Bell
The Agnes Martin Catalogue Raisonné comprises two volumes: Agnes Martin: Paintings, published in 2017, and Agnes Martin: Works on Paper, forthcoming in 2019. The second volume, Agnes Martin: Works on Paper, contains entries for more than four hundred ink and graphite drawings and watercolors from Martin’s mature phase (1959 to 2004), as well as some thirty of her earliest known works, many uncovered during the research process. Though relatively modest in number, Martin’s works on paper form an important part of her oeuvre. The artist made no hierarchical distinction between works on paper and works on canvas, often blurring the definitional boundaries between them by drawing on canvas and painting on paper. Martin’s works on paper are unique artworks in their own right, not studies for paintings, and contribute to a more complete understanding of her overall approach to art-making. Agnes Martin: Works on Paper contains approximately six hundred highresolution photographs, which can be viewed in detail using the zoom feature. Many of these photographs have been newly commissioned and document artworks that have not been previously reproduced. Chapters and filters group the works by mediums and motifs, allowing scholars, curators, and collectors to consider the similarities and differences between related works. This volume, compiled by Editor Tiffany Bell during more than ten years of research, completes the principal phase of the Agnes Martin catalogue raisonné. The catalogue will continue to be updated as new information becomes available. 
Coming Soon [Winter 2019-20]
Chuck Close: Unique Works on Paper Edited by Carina Evangelista
The Chuck Close Catalogue Raisonné comprises two volumes: Chuck Close: Paintings, published in 2012, and the forthcoming Chuck Close: Unique Works on Paper. The second volume, Chuck Close: Unique Works on Paper, is the definitive list of unique works on paper in Close’s oeuvre, which date primarily from 1967 to 1988 and were made with materials including pencil, ink, charcoal, pastel, watercolor, string, and paper pulp. Editor Carina Evangelista has worked directly with Close and his studio in identifying and tracking the works for this volume, which traces an evolution from his use of traditional mediums like pencil and ink to later experiments and innovations. Close’s predominant two approaches to works on paper are his dot and fingerprint drawings, which together reveal a preoccupation with exploring how basic units—such as abstract dots or organic fingerprints—applied in varying sizes and intensities within a grid can create a visual syntax that reads as a portrait. A number of works in color illustrate his approach of simulating the photomechanical process of overlaying magenta, cyan, and yellow in the creation of an image. The date of 1988 marks the year that Close suffered a spinal aneurysm that resulted in paralysis, leaving him with mobility only in his neck and arms. His inability to use his fingers limited his ability to grip a pen or a pencil and to calibrate the pressure necessary to apply small marks on paper. However, this volume includes selected studies, coded drawings, and templates Close made in preparation for paintings or editioned works throughout his career, including a few studies for prints and multiples made after 1988. This volume of the catalogue raisonné provides provenance, along with exhibition and literature histories, for each artwork record. The Related Artworks feature allows users to compare Close artworks across the many mediums he worked with. Also included is a 1976 video documentary of Close at work on one of the dot drawings. 
Coming Soon [Winter 2019-20]
Carl Andre: Sculpture
John Hoyland: Paintings
Niki de Saint Phalle, Vol. II
Frank Stella: Polish Villages
Introductory Videos Introduction to Artifex Press by David Grosz
Tiffany Bell on the Agnes Martin Catalogue RaisonnĂŠ
Carina Evangelista on the Chuck Close Catalogue RaisonnĂŠ
About Our Subscriptions Access to Artifex Press digital catalogues raisonnés is available through subscription. We offer two types of subscriptions: All Catalogues subscriptions and Single Catalogue subscriptions. All Catalogues annual subscriptions entitle you to all existing Artifex Press catalogues raisonnés, updates to those catalogues, and any new catalogues published during your subscription period. All Catalogues subscriptions are for academic, museum, and public libraries; art galleries, auction houses, and art professionals; and interested individuals. For institutions, access is through an IP block, providing you the ability to have an unlimited number of users. Our subscription rate is based on the size and type of your institution, and follows the Carnegie Classification of Institutions of Higher Learning. Please inquire by contacting us for rates and/or a free demonstration at email@example.com. ________________________________________________________________________________ Single Catalogue subscriptions provide access to an individual publication’s full content and updates throughout the time of your subscription. They are purchased with an initial, one-time fee, and an annual maintenance fee is charged on the anniversary of the original purchase date. The maintenance fee accounts for technology and content-related updates to your selected catalogue raisonné. Single Catalogue subscriptions are for a single user, and are recommended for individuals whose interest is limited to a specific artist. You may purchase a Single Catalogue subscription directly on www.artifexpress.com.
Working on a catalogue raisonné? Artifex Press works with a wide range of artists and is able to assist with all aspects of the cataloguing process, from archival research, to provenance outreach, to challenging conceptual issues related to works in nontraditional mediums, to developing processes and committees, to image processing and other publication decisions. We are always interested in speaking with artists, estates, and their representatives as they consider avenues to publish a catalogue raisonné. Please contact us at firstname.lastname@example.org to set up a live tour of our software and/or to learn about our research and editorial services.
Photography Credits Cover: Agnes Martin, Untitled, 1960 (detail). © Estate of Agnes Martin/Artists Rights Society (ARS), New York. Photography courtesy Addison Gallery of American Art
p. 12: Agnes Martin, Untitled, 1960. © 2017 Agnes Martin /Artists Rights Society (ARS), New York. Photo by G.R. Christmas, courtesy Pace Gallery
p. 5: Chuck Close, Phil, 1969 (studio view). © Chuck Close. Photo by Frank James, courtesy Chuck Close Studio
p. 13: Agnes Martin in her studio, Cuba, New Mexico, 1974. Photos courtesy Pace Gallery, New York
p. 6: Jim Dine with The Crommelynck Gate with Tools, 1983 (in-progress). © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Nancy Dine, courtesy the artist
p. 15: Lucas Samaras, Box #97, 1977, various states and details © Lucas Samaras. Photos by Tom Barratt, courtesy Pace Gallery
p. 7: Jim Dine, The Field of the Cloth of Gold, 1987-1988, AP 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Ellen Labenski, courtesy Pace Gallery; Jim Dine, Silver, 1989, Edition 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Bill Jacobson, courtesy Pace Gallery; Jim Dine, Bouquet, 1987-1988, AP 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Ellen Labenski, courtesy Pace Gallery; Jim Dine, The Columbia River, 1988, Edition 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Bill Jacobson, courtesy Pace Gallery; Jim Dine, Venus in the Chair, 1991. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Bill Jacobson, courtesy Pace Gallery; Jim Dine, The Lady Rises Up, 1995, Edition 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery; Jim Dine, Silver Venus on a Rock, 1990, Edition 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Bill Jacobson, courtesy Pace Gallery; Jim Dine, Venusberg, 1988, Edition 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery; Jim Dine, Trembling for Color, 1990, Edition 3. © 2017 Jim Dine/ Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery
p. 16: James Siena with Just Read the Instructions, 2013. © 2017 James Siena. Photo by Sam Deitch, courtesy BFA NYC
p. 8: Tim Hawkinson, Tagalong, 2013. © 2017 Tim Hawkinson. Photo by Joshua White, courtesy Pace Gallery
p. 18: Agnes Martin, Untitled (Balconies Galleries/Citadel), 1960 (detail and full image). © 2019 Estate of Agnes Martin/Artists Rights Society (ARS), New York. Photography by Sarah Harper Gifford, courtesy Pace Gallery p. 19: Chuck Close, John/Progression, 1983. © Chuck Close. Photo courtesy Pace Gallery p. 20: © Carl Andre/Licensed by VAGA, New York, NY; © Barford Sculptures Ltd. Photo by Jonty Wilde, courtesy Yorkshire Sculpture Park; © Tara Donovan. Photo courtesy Pace Gallery; © The John Hoyland Estate. Photo by Prudence Cuming Associates; © 2015 Robert Irwin/Artists Rights Society (ARS), New York. Photo © Philipp Scholz Rittermann; © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo by G. R. Christmas, courtesy Pace Gallery; © Niki Charitable Art Foundation, All rights reserved. Photo: © Robert Doisneau/Gamma-Rapho/ Getty Images; © Bosco Sodi. Photo courtesy Pace Gallery; © 2015 Frank Stella / Artist’s Rights Society (ARS), New York. Photo by Bill Orcutt; Yves Tanguy, Mama, Papa Is Wounded!, 1927. © 2017 Estate of Yves Tanguy / Artists Rights Society (ARS), New York. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY; © Richard Tuttle. Photo courtesy Pace Gallery
p. 10: Sol LeWitt, Wall Drawing #793A at Sala de las Alhajas, Madrid, 1996. © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo by Miguel Zavala, courtesy Back cover: Sol LeWitt, Wall Drawing #991, 2001 (detail). Estate of Sol LeWitt; Diagram for Wall Drawing #793A. © © Estate of Sol LeWitt/Artists Rights Society (ARS), New Estate of Sol LeWitt/Artists Rights Society (ARS), New York York. Photo © Darbu Photography Studio, courtesy Pace Gallery p. 11: Sol LeWitt installing Wall Drawing #136 at Chiostro di San Nicolò, Spoleto, Italy, 1972. © Estate of Sol LeWitt/ Artists Rights Society (ARS), New York. Photo by Giorgio Lucarini, courtesy Estate of Sol LeWitt