This article considers Sol LeWitt’s wall drawings as artworks poised on the cusp of the ‘post-medium condition’ of installation art. While the wall drawings are site-specific, they eschew the spectacular, immersive effects of subsequent multi-media installation art. They also adhere to the practice of drawing at the precise moment when conventional, medium-based categories were under attack. It is argued that LeWitt’s wall drawings refuted the modernist conception of ‘the medium’ as an autonomous entity, foregrounding instead its relational and communicative potential.
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