Eva Hesse and So lLeWitt

CRAIG F. STARR GALLERY Converging Lines: E va Hesse and Sol L eWitt (1960 –1970) by Veronica Roberts

Shortly after passed away on May 29 , 1970 , at the age of thirty-four, Sol L eWitt paid tribute to his close friend by creating Wall Drawing # 46 in her honor for an exhibi - tion that opened at Galerie Yvon Lambert in Paris on June 2. For the wall drawing, LeWitt drew “not straight” vertical lines directly onto the wall in pencil, paying homage to the organic contours that were a hallmark of Hesse’s art. Covering the entire surface of a nine-by-nine-foot wall, the wispy irregular lines—the first not straight lines L eWitt ever made—invoke the thin ropes and tendril-like cords that wrap around, protrude, or dangle from so many of Hesse’s . LeWitt later explained, “I wanted to do something at the time of her death that would be a bond between us, in our work. So I took something of hers and mine and they worked together well. You may say it was her influence on me .” 1

Wall Drawing # 46 (shown opposite ) was more than just a personal gesture of affection and admiration, however. It also represented a pivotal turning point in L eWitt’s career. Previously, L eWitt’s wall drawings featured systematic combinations of parallel straight lines of fixed lengths in four directions—vertical, horizontal, right and left diagonal— constituting what L eWitt called his “coat of arms.” In Wall Drawing # 46 , the rigid logic of line placement evaporated. Not straight lines brought freedom from rulers and meas - urements. His decision to identify these lines as “not straight” as opposed to “curved” or “wavy” suggests that L eWitt wanted to fully absorb them into his own standardized vocabulary of elements (lines straight or not straight, touching or not touchin g) and thereby to unite Hesse’s art with his own. The not straight line became a key motif of LeWitt’s lexicon for the remainder of his career; he incorporated it in approximately ninety wall drawings and in countless works on paper. It also led to the development of significant bodies of other work, including his wavy line gouaches, Loopy Doopy wall drawings, and the Scribble wall drawings that he made in the last years of his life.

Hess e’s significance to L eWitt can also be measured by his decision to retain Wall Drawing # 46 in his personal collection and to include it in virtually every major exhibition of his work, from his 1978 retrospective at the to the 2000 retrospective organized by the San Francisco Museum of Modern Art. It is telling that L eWitt person - ally selected it as the work to begin the 2006 exhibition of fourteen wall drawings at Dia:Beacon, the last exhibition the artist saw completed before he passed away in 200 7.2

3 While the impact of Hesse’s work on L eWitt’s art was most evident after her death, their as revealed by the numerous inscriptions “for Ev a” and “for Sol” written in the corners of friendship, which spanned the decade between 1960 and 1970 , shaped both their lives and drawings and across the backboards of sculptures .5 art in crucial—and reciprocal—ways. LeWitt and Hesse first met in New York in the In certain respects, the close friendship that developed between Hesse and L eWitt was summer of 1960 when mutual friends Harvey and E llen Leelike Becker (Hess e’s room - unlikely. The strategies and processes underlying their respective work appear diametri - mate at Yale ) introduced them. Hesse was then 24 and L eWitt was 31. Both were Jewish: cally opposed. LeWitt’s conceptual approach to making art privileged preset rules and Hesse had arrived in the United States in 1939 after her family fled Nazi persecution; systems and willfully purged subjectivity. In contrast, Hesse arrived at aesthetic decisions LeWitt was the only son of Russian Jewish immigrants who settled in Hartford, more intuitively and with a greater personal investment in materials and forms. Connecticut, where he was born. Both considered themselves painters. Hesse had While LeWitt famously declared, “the idea becomes the machine that makes the art” recently graduated with a Bachelor of Fine Arts from Yale the previous spring. She was and that “execution is a perfunctory affair,” Hesse accentuated the personal and hand- producing murky-colored figurative paintings and supporting herself through various made qualities of her work .6 jobs, working first at a jewelry store in Greenwich Village and then as a textile designer. LeWitt was making canvases in bold primary colors of somersaulting and striding figures These sharp differences manifest themselves graphically in their art. LeWitt is best known inspired by the famous studies of human and animal locomotion made by nineteenth- for neutral geometric shapes and structures produced by scores of assistants and fabrica - century British photographer Eadweard Muybridge. tors, while Hess e’s paintings and sculptures are indelibly linked to biomorphic shapes, erotic forms, and irregular edges produced by her own hand. A comparison of LeWitt’s It was at the Museum of Modern Art that L eWitt forged his artistic and social circle. white modular cube (3 x 3 x 3 , 1965 ; fig. 3) with Hess e’s black sausage-shaped LeWitt began working at MoMA in 1960 , initially at the museum book counter and then from 1966 (fig. 6) epitomizes their differences. LeWitt’s modestly sized structure of open as a night watchman. It was in these capacities that he first met artists Dan Flavin, Robert cubes stacked three squares long, wide, and deep is a quintessential Minimalist form, Mangold, and Robert Ryman, all of whom worked as security guards, and future art critic devoid of expression and purged of any traces of personal construction. Although ele - Lucy Lippard, who was working in the museum library. For Lippard, the group was a mental in its design, 3 x 3 x 3 nevertheless provides an unexpectedly rich visual experi - “fascinating labyrinth of friendships and connections.” She characterized The Modern as ence derived from the constantly shifting perspectives and shadows it offers as the viewer “the hub” and “the beginning of our art world lives .” 3 For L eWitt, the friendships made looks into and through the work. In contrast, Hess e’s bulbous sculpture suspended from a there were collaborative and symbiotic: “The discussions at that time were involved with nail on the wall is a highly suggestive, phallic form. The small portion of the sculpture new ways of making art, trying to invent the process, to regain basics, to be as objective as dangling by a thin cord conveys a sense of vulnerability and violence. By the time Hesse possible .” 4 After Hesse moved to 134 Bowery in 1963 , in the same neighborhood where made this untitled work in New York, she had become friends with Paul Thek, Joe LeWitt, Mangold, Ryman and Lippard lived, she became a critical member of the circle, Raff aele, and other artists who similarly explored Surrealist-inspired fetishistic forms and which soon expanded to include Nancy Holt, Robert Smithson, and others. This loosely encouraged this tendency in her work. Over time, generalizations developed around their affiliated group provided each other with crucial support: in many cases, they wrote about practices: LeWitt’s work became allied with the mind and concepts, while Hess e’s became each other’s work in art journals (, Donald Judd and Smithson wrote about inextricably connected to the body and process. Indeed, they are in many ways consid - Hesse; Bochner and Smithson wrote about LeWitt ); they showed in exhibitions together; ered paragons of these opposing categorizations—in L eWitt’s case, as a key practitioner of and in some cases, even curated exhibitions of each other’s work (Bochner, Lippard, Dan Minimal and Conceptual art, and in Hesse’s case, as a pioneer of Post- and a Graham, and Robert Morris all curated shows during this period. ) They also traded work, host of other labels applied to her art, ranging from Eccentric Abstraction to Anti-Form .

4 5 In the early years of their friendship, Hesse and L eWitt’s close rapport was more apparent considered its leading practitioners rejected the moniker itself (coined by art critic in their extensive correspondence than in the works of art they produced .Shortly after Richard Wollheim earlier that year. ) At that point Hess e’s engagement with Minimalism arriving in Germany for a 15-month residency with her husband Tom Doyle, where the began, most strikingly in the monochromatic works on paper she made from 1965 to 1967 couple worked side by side in an abandoned textile factory, she wrote to L eWitt. Beset by in pen, pencil, gray watercolor, and ink washes. Hesse’s 1965-66 (fig. 16 ) and 1966 drawing doubts about the first sculptural relief she had begun making there and eager for his per - (fig. 13 ), both untitled, herald a dramatic shift away from her brightly colored drawings of spective, she explained, “We strike some diametrically opposed balance, reacting emotion - the early 1960 s, such as No title, 1963 (fig. 1).The 1963 drawing has an exuberant, idio - ally so differently, yet somewhere understanding.” 7 On April 14,1965 ,LeWitt responded syncratic energy. Covered in loosely geometric and biomorphic shapes outlined primarily to her apprehensions with an extraordinary five-page letter filled with encouraging words in fuchsia ink and filled with arrows, boxes, and other eccentric forms, it possesses a both poetic and humorous. On the first page, he implored his friend: whimsically lopsided composition. In contrast, Hesse ’s later circle drawings appear, at first, to be the work of another artist. A pencil grid lends a barely visible structure to each of Just stop thinking, worrying, looking over your shoulder, wondering, doubting, fearing, them. One consists of outlined circles punctuated by a faint dot of black ink at their cen - hurting, hoping for some easy way out, struggling, grasping, confusing, itching, ters, alternating with nebulous bands. The other, a grid of three by four target-like circles, scratching, mumbling, bumbling, grumbling, humbling, stumbling, rumbling, rambling, contains concentric rings that progressively lighten as they move away from their centers. gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, In these early grisaille drawings, Hesse’s ties to Minimalism are pronounced—from the groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose- restrained palette and basic geometric shapes to the gridded compositional structure. sticking, ass-gouging, eyeball-poking, finger pointing, alleyway-sneaking, long waiting, Yet, even when Hesse clearly invoked Minimalist forms, she simultaneously defied its small stepping, evil-eying, back scratching, searching, perching, besmirching, grinding, precedents. Whereas Minimalists sought to present unmodulated, identical, repeated grinding, grinding away at yourself. Stop it and just DO. 8 units—be they lines, stripes, bars, or cubes—every line in a Hesse drawing looks A few pages later, he reiterated his faith in her: irrefutably handmade .10 We see this as well in a trio of simple ink drawings on graph paper from 1967 that Hesse gave L eWitt, in which she filled squares of the graph paper I have much confidence in you and even though you are tormenting yourself, the work with small x’s and o’s (figs. 10-12). you do is very good. Try to do some BAD work. The worst you can think of and see what happens, but mainly relax and let everything go to hell. You are not responsible Hess e’s dialogue with Minimalism peaked in her series of five Accession boxes, which for the world—you are only responsible for your work—so DO IT. take the Minimalist cube as their point of departure. Accession V, 1968 (fig. 4), the last of the series, is one that she gave as a present to L eWitt. A 10-inch open metal cube, its sides The length of the letter and care L eWitt put into it are testaments to the generous nature are perforated with holes at regular junctures that Hesse hand-threaded with rubber of his support and affection for her. Its chain of rhyming verbs and his repeated appeal to tubes. The dark bristly interior suggests the tentacles or body hair of a creature, thus her that she just “DO” (which he wrote in large, often embellished script ) also signal a transforming the otherwise matter-of-fact geometric object into a mysterious vessel. love of language—an area of mutual fascination for Hesse and L eWitt that they explored Accession V responds to Minimalist precedent both in its use of the cube (a L eWittian simultaneously in their personal correspondence and their art .9 open cube no less ) and because the Accession boxes mark Hesse’s first attempts at working By the time Hesse returned to New York in the fall of 1965 , Minimalism had become with outside fabricators, the way L eWitt, Bochner, Judd, and other Minimalist peers did prevalent in the art world, even though L eWitt and most of the other artists who were so frequently at the time.

6 7 While Hess e’s debts to Minimalism—and specifically to L eWitt—are acknowledged in lines will inevitably vary from the next. The work becomes, in effect, a musical score, virtually every text on her work, there is scant recognition or analysis of the important interpreted differently by each person. LeWitt increased its potential for new outcomes ways that her work influenced L eWitt’s, even though he spoke openly about his credit to by stipulating that the work could be installed either on a horizontal or vertical wall, with her. In the fall of 1966 , as Hesse prepared for a group show in New York curated by the orientation of squares either moving from left to right or from top to bottom. In the Lippard at the Fishbach Gallery, she enlisted L eWitt and Bochner’s help in installing more than 1,200 wall drawings LeWitt ultimately conceived, variability and unpre - Metronomic Irregularity II, a particularly important and complex sculpture that has since dictability were as vital to their making as straightedges and scaffolds. And for this, Hesse been lost. Metronomic Irregularity II was wall-mounted and composed of three 40 -inch- provided the critical impetus and cues. square boards spaced 40 inches apart with holes drilled at every intersection of a one- If the impact of Hesse’s work on L eWitt’s has received little attention, so too has the way inch grid that Hesse painstakingly interlaced with cotton-covered wire. LeWitt and LeWitt’s wall drawings engage the human body. The binary distinctions between LeWitt/ Bochner’s first attempts to mount the boards on the wall were a failure, and Hesse had to the mind and Hesse/the body are not as firm as we may assume. While L eWitt empha - reconstruct the work. Nonetheless, L eWitt was fascinated by Hess e’s fluid process. sized the importance of the concept behind a work of art over the work that resulted Although weaving wire through the holes by hand was cumbersome, the work was (indeed, making this a central tenet of conceptual art ), the hand—and by extension, the never the same twice; by design, the sculpture would have new life and shape every time body—is still crucial to his work. Evidence of its significance abounds in the instructions it was installed. LeWitt later said of Hesse and the experience: “I don’t think she was par - of wall drawings that give drafters leeway to execute lines at random, from points on the ticularly conscious of opening doors. She was trying to get it done. But it was really a wall and at lengths of their choosing, and even as far as they can reach. We can also see it magnificent piece and a way of liberation for me in my own work. I think it was one of in the size of the grids that form the structure of many wall drawings: LeWitt deliberately the very earliest examples of installation art… .it had a strong and direct and specific scaled his grids so that a line or arc would not exceed the length that a hand could com - effect on me .” 11 While Hesse would never claim to be the first artist who made a work fortably draw. Furthermore, we see an index of the individual hand in the not straight that would be different each time it was reinstalled, she was certainly a pioneering line, because movements of the hand are what give each not straight line its unique, contributor to the emergence of installation art—and the person whose variable config - meandering trajectory. 12 Critically, however, neither L eWitt’s own hand, nor the hand of urations most influenced L eWitt’s thinking. any one particular drafter, wields exclusive importance. Almost exactly two years later, in the fall of 1968 , L eWitt created his first wall drawing at LeWitt learned of Hesse’s death when he was in Europe, preparing for June shows at New Yor k’s Paula Cooper Gallery. Inherent to this new body of work was the notion that Galerie Yvon Lambert in Paris, galleries in England and Italy, and a major exhibition a wall drawing would be different every time it was installed—not only because no two opening in July at the Gemeentemuseum in the Netherlands. On the heels of making spaces or walls are ever identical, but also because L eWitt designed instructions that Wall Drawing # 46 in Hesse’s honor, L eWitt wrote immediately to Enno Develing, the ensured that particular works would differ with each iteration, often considerably so. director of the Gemeentemuseum: Wall Drawing # 28 , 1969 , for instance, represents one of the earliest examples of a wall drawing that is never the same twice. Its title offers the following specifications: “On four Dear Enno, adjacent squares, 1) one line, 2) ten lines, 3) one hundred lines, 4) one thousand lines. Eva Hesse has died in New York. She was my best friend and a great artist. I want All lines are straight and drawn at random .” Drawn at random : it is these three words that to dedicate my show in The Hague to her and on the first page of the catalogue to say open this pencil wall drawing to countless interpretations. Each drafter’s placement of “this exhibition is for Eva Hesse .” 13

8 9 Hesse’s name also appeared in the section of the exhibition catalogue that featured short 1. Andrea Miller-Keller, “Excerpts from a Correspondence, 1981-1983 ,” reprinted in Adachiara Zevi, ed. Sol L eWitt: essays L eWitt had asked close friends and peers , Mel Bochner, Dan Flavin, Critical Texts (Rome: I Libri di AEIOU ), 109 . 2. On a more personal level, Hesse’s significance to L eWitt is indicated by his decision to name the youngest of his Lucy Lippard, and others to contribute. Shortly before she died, Hesse had submitted her two daughters, Eva. statement . Printed in the catalogue in her own cursive script, it read: 3. Oral History Program, interview with Lucy R. Lippard, 1999, p. 38 .The Museum of Modern Art Archives, New York. 4. Andrew Wilson, “Sol L eWitt Interviewed,” Art Monthly , no. 164 (March 1993 ); reprinted in Zevi, 123 . Sol L eWitt, 5. Many of the works in this exhibition are gifts Hesse and L eWitt gave each other. While the precise circumstances of I have seen your work. all of their exhanges are not known, according to Lucy Lippard’s monograph on Hesse, Hesse made The Washer Table (fig. I have seen your work change. 14) in return for a table LeWitt made her. Mel Bochner also recently provided me with interesting information about Hesse’s untitled gray relief from 1966 (fig. 18 ).According to Bochner, Hesse gave L eWitt this wall-mounted sculpture (and I have seen your work grow. Bochner a related one ) at a Christmas party in 1966 hosted by artist Ruth Vollmer. Bochner recalls that the work was a pres - I have seen your work. ent, rather than a trade, and that the gifts came as wonderful, unexpected surprises. Bochner had recently worked as Vollmer’s studio assistant. He introduced Vollmer to L eWitt and Hesse and all of them became close friends. Vollmer is the Now it’s there, where you put it. subject of a noteworthy recent essay: Anna Lovatt, “On Ruth Vollmer and Minimalism’s Marginalia ,” Art History 33 , issue 1 (February 2010 ): 150-169 . Now it extends itself unto us. 6. Sol L eWitt, “Paragraphs on Conceptual Art,” Artforum 5, no. 10 ( June 1967 ): 79-83 ; Gary Garrels, ed. Sol LeWitt: Now we have grown to see it. A Retrospective , San Francisco Museum of Modern Art exhibition catalogue (New Haven: Yale University Press, 2000 ): 369 . 7. Eva Hesse, letter to Sol L eWitt, not dated, L eWitt Collection, Chester, Connecticut. Thank you for your request. 8.This letter is reproduced in its entirety in the image section of this catalogue. (See figure 26. ) Thank you for Sol’s, 9.The role that language plays in both Hesse and L eWitt’s practice is a subject worthy of its own essay, and is part of a wide - Sincerely, spread exploration of language that is crucial to the contemporaneous work of Bochner and Smithson, among others. Eva Hesse 10 .With their black centers and gradated hues, Hesse’s drawing of target-like circles also bears a formal resemblance to the dark tunnel-like centers and sooty canvas rings of sculptures by Lee Bontecou, an artist Hesse met and admired. Similarly, While Hesse never received a solo museum show during her lifetime, today both she and it’s interesting to consider the how Hesse’s box-shaped sculptures might also respond to Surrealist-informed precedents such as Paul The k’s Technological Reliquaries or the sculptures of Lucas Samaras. LeWitt have secure places in the accounts of post-war American art history. SFMOMA 11 . Michael Kimmelman, “Eva Hesse and the Lure of ‘Absurd Opposites ,’” New York Times , May 10, 1992 . organized major L eWitt and Hesse retrospectives in 2000 and 2002, respectively. Audio commentary by L eWitt on this work can be found at: http: //www.sfmoma.org/multimedia/videos /130 # There have been a multitude of important shows dedicated to their practices since then— 12 . Interestingly, the instructions associated with Wall Drawing # 46 stipulate that a single drafter is required to execute the work. Typically, LeWitt wall drawings are executed by two or more drafters but because two people will inevitably from the three-floor building at MASS MoCA currently devoted to L eWitt’s wall draw - draw not straight lines very differently, a single drafter is needed for this wall drawing. ings to the recent spate of Hesse exhibitions exploring her studio work and early 13 . Sol L eWitt, Haags Gemeentemuseum, July 25 -August 30, 1970 , exhibition catalogue, 27 ; reprinted in Zevi, 175 . paintings. To use Hess e’s words, art history has “grown to see” L eWitt’s work and to rec - ognize her contributions as well. Hopefully now we have also grown to see the meaning - ful role that their friendship played in their lives and in their art .

Veronica Roberts is Director of Research for the Sol L eWitt Wall Drawing Catalogue Raisonné. She first worked with L eWitt when she coordinated his 2000 retrospective for the Whitney Museum.

10 11 1. Eva Hesse, No title, 1963 2. Sol L eWitt, Drawing Series I/3241/A&B , 1968 3. Sol L eWitt, 3 x 3 x 3 , 1965 4. Eva Hesse, Accession V, 1968 5. Sol L eWitt, Wall Piece (16 Modules Hig h), 1988 6. Eva Hesse, No title, 1966 7. Eva Hesse, Right After , 1969 8. Sol L eWitt, Bordered Rectangles within Bordered Rectangles , 1992 9. Eva Hesse, No title, 1969 10. Eva Hesse, No title, 1967 11. Eva Hesse, No title, 1967 12. Eva Hesse, No title, 1967 13. Eva Hesse, No title, 19 66 14. Eva Hesse, Washer Table , 1967 15. Sol L eWitt, R 48 7, 1975 16. Eva Hesse, No title, c. 196 5-66 17. Eva Hesse, No title, 1966 18. Eva Hesse, No title, 1966 19. Sol L eWitt, Loopy Doopy , 1998 20. Sol L eWitt, Horizontal Brushstrokes (More or Less ), 2002 21. Sol L eWitt, Scribbles , 2005 22. Sol L eWitt, Scribbles , 2005 23. Sol L eWitt, Scribbles , 2005 24. Sol L eWitt, Scribbles , 2005 25. Sol L eWitt, Scribbles , 2007 26. Sol L eWitt, letter to Eva Hesse, April 14, 19 65

CHECKLIST

Frontispiece: 4. Eva Hesse, Accession V, 1968 11. Eva Hesse, No title, 1967 19. Sol L eWitt, Loopy Doopy , 1998 7 1 1 1 Sol L eWitt, Wall Drawing # 46: Vertical lines, not Galvanized steel and rubber, 10 x 10 x 10 inches Ink on graph paper, 10 ⁄8 x 8 ⁄2 inches Ink on paper, 29 ⁄2 x 34 ⁄4 inches straight, not touching, uniformly dispersed with maximum LeWitt Collection, Chester, Connecticut Signed lower right: ‘Eva Hesse 1967’ Private collection, New York density covering the entire surface of the wall (detai l) LeWitt Collection, Chester, Connecticut Pencil on wall, 108 x 108 inches 5. Sol L eWitt, Wall Piece (16 Modules Hig h), 1988 20. Sol L eWitt, Horizontal Brushstrokes First drawn by: Sol L eWitt Painted wood, 76 x 5 x 5 inches 12. Eva Hesse, No title, 1967 (More or Less ), 2002 7 1 3 3 First installation: Galerie Yvon Lambert, Paris, May 1970 Edition size: 20 Ink on graph paper, 10 ⁄8 x 8 ⁄2 inches Gouache on paper, 22 ⁄8 x 22 ⁄8 inches 1 1 At Craig F. Starr Gallery, New York; 105 ⁄2 x 89 ⁄2 inches Published by Edition Schellmann, Munich and New York Signed lower right: ‘Eva Hesse 1967’ Signed and dated lower right: ‘S LeWitt 0 2’ LeWitt Collection, Chester, Connecticut Signed and numbered on verso: ‘A.P. 6/9’ LeWitt Collection, Chester, Connecticut LeWitt Collection, Chester, Connecticut Private collection, New York Sol L eWitt, Wall Drawing # 28: On four adjacent 13. Eva Hesse, No title, 1966 21. Sol L eWitt, Scribbles , 2005 1 squares, 1) one line, 2) ten lines, 3) one hundred lines, 6. Eva Hesse, No title, 1966 Watercolor and pencil on paper, 12 x 9 inches Pencil on paper, 22 ⁄4 x 30 inches 4) one thousand lines. All lines are straight and drawn Enamel, cord, papier-caché, latex, and rubber Signed and dated lower right: ‘Eva Hesse 1966’ Signed and dated lower right: ‘S LeWitt 0 5’ 1 1 at random (not illustrated ) 47 x 11 ⁄2 x 2 ⁄2 inches Private collection, New York LeWitt Collection, Chester, Connecticut Pencil on wall, each square: 40 x 40 inches LeWitt Collection, Chester, Connecticut First drawn by: Unknown 14. Eva Hesse, Washer Table , 1967 22. Sol L eWitt, Scribbles , 2005 1 First installation: Städtisches Museum, Leverkusen, 7. Eva Hesse, Right After , 1969 Rubber washers, painted wood, and metal Pencil on paper, 22 ⁄4 x 30 inches 1 1 1 1 Germany, November 1969 Silver gouache and pencil on paper, 22 ⁄4 x 15 inches 8 ⁄2 x 49 ⁄2 x 49 ⁄2 inches Signed and dated lower right: ‘S LeWitt 0 5’ 1 At Craig F. Starr Gallery, New York; 105 ⁄2 x 248 inches Inscribed lower left: ‘Right After’ and signed and dated Note: Sol LeWitt built the table LeWitt Collection, Chester, Connecticut Fonds Régional d ’Art Contemporain de Picardie, lower right: ‘Eva Hesse 1969’ LeWitt Collection, Chester, Connecticut Amiens, France Private collection, New York 23. Sol L eWitt, Scribbles , 2005 1 15. Sol L eWitt, R 48 7, 1975 Pencil on paper, 22 ⁄4 x 30 inches 3 1. Eva Hesse, No title, 1963 8. Sol L eWitt, Bordered Rectangles within Torn paper, 12 ⁄8 inches diameter Signed and dated lower right: ‘S LeWitt 0 5’ Ink, watercolor, pencil, and crayon on paper Bordered Rectangles , 1992 Signed, dated, and inscribed lower right: LeWitt Collection, Chester, Connecticut 3 1 1 1 22 ⁄8 x 28 ⁄2 inches Gouache on paper, three sheets, 11 ⁄2 x 9 ⁄2 inches each ‘R 487 Sol LeWitt 8/16/75’ Note: Sol LeWitt made the frame for the work Signed lower right: ‘Sol L eWitt’ Private collection, New York 24. Sol L eWitt, Scribbles , 2005 1 LeWitt Collection, Chester, Connecticut Private collection, New York Pencil on paper, 22 ⁄4 x 30 inches 16. Eva Hesse, No title, c. 196 5-66 Signed and dated on verso: ‘S LeWitt 2007’ 2. Sol L eWitt, Drawing Series I/3241/A&B , 1968 9. Eva Hesse, No title, 1969 Watercolor and ink on paper, 12 x 9 inches LeWitt Collection, Chester, Connecticut 1 3 Ink on paper, 10 ⁄4 x 20 ⁄4 inches Gouache, watercolor, silver and bronze paint on paper Private collection, New York 3 1 Inscribed and dated lower left: ‘For Eva/ November 6, 21 ⁄4 x 17 ⁄4 inches 25. Sol L eWitt, Scribbles , 2007 1 1968’ and signed lower right: ‘Sol L eWitt’ Signed and dated lower right: ‘Eva Hesse 1969’ 17. Eva Hesse, No title, 1966 Pencil on paper, 11 x 8 ⁄2 inches 3 7 LeWitt Collection, Chester, Connecticut Private collection, New York Ink wash on paper, 13 ⁄4 x 10 ⁄8 inches Private collection, New York Signed and dated lower right: ‘Eva Hesse 1966’ 3. Sol L eWitt, 3 x 3 x 3 , 1965 10. Eva Hesse, No title, 1967 Private collection, New York 26. Sol L eWitt, letter to Eva Hesse, April 14, 19 65 1 1 1 7 1 Painted wood, 14 ⁄2 x 14 ⁄2 x 14 ⁄2 inches Ink on graph paper, 10 ⁄8 x 8 ⁄2 inches Ink on paper, 5 pages; single-sided Signed and dated underneath: ‘Sol L eWitt 1965’ LeWitt Collection, Chester, Connecticut 18. Eva Hesse, No title, 1966 (exhibited in reproduction ) LeWitt Collection, Chester, Connecticut Acrylic, cord, papier-caché, and wood LeWitt Collection, Chester, Connecticut 1 1 7 ⁄2 x 7 ⁄2 x 4 inches Signed and inscribed on verso: ‘For SOL—EVA HESSE 1966’ LeWitt Collection, Chester, Connecticut This publication accompanies the exhibition: Eva Hesse and So lLeWitt Curated by Veronica Roberts April 12 – May 27, 2011

Catalogue © 2011 Craig F. Starr Gallery Art © 2011 The Estate of Eva Hesse. Courtesy Hauser & Wirth Art © 2011 The LeWitt Estate /Artists Rights Society (ARS ), New York Text © 2011 Veronica Roberts

Photography: Light Blue Studio, except frontispiece: courtesy The Pace Gallery, New York; fig. 6: David Stansbury, courtesy Wadsworth Atheneum Museum of Art; figs. 7, 17: Ellen McDermott; fig. 8: Peter Muscato; fig. 15: Laura Mitchell Design: Step Graphics Printing: Meri dian Printing

For an exhibition based on a remarkable friendship, I am lucky to have had the help and wise counsel of many friends and colleagues. I would like to thank Austen Bailly, Sylvia Bandi, Mel Bochner, Thomas Brown, Sachiko Cho, Corey D’Augustine, Adam Glick, John Hogan, Catherine Howe, Carol LeWitt, Sofia LeWitt, Cara Manes, Tony Morgan, Hidemi Nomura, Jane Panetta, Janet Passehl, Tim Pyle, Barry Rosen, Susanna Singer, Maggie Sloan de Lloret, Evelyn Spence, Craig Starr, Ann Temkin, Anne Umland, Amy Whitaker, Emily Whitley, the generous lenders to the show, and my family—especially my mother, Cynthia Taylor, and my grandmother, Eugenie Taylor. Most of all, I would like to thank Kristy Bryce for your invitation to do a show I had long hoped to realize. I could not have asked for a better collaborator. –Veronica Roberts

CRAIG F. STARR GALLERY 5 East 73 rd Street New York, NY 10021 Tel 212 570 1739 Fax 212 570 6848 Hours Tuesday -Saturday 11 - 5:30 ww w.craigstar r.com