It’s true that early on LeWitt rejected the term minimalistic as overly formalistic “He associated it with a primary connotation that would contradict the mental elaboration required by the work. As his work defines itself, the risk is to approach it by its formal characteristics. It’s all too obvious that his early work could be associated with certain constructive forms. But if, in 1915, Malevich could accompany the exhibition 0.10 with the note: “the content of these paintings is not known to the author”, for Sol LeWitt, on the contrary, it’s the concept that takes first place.

Catherine Strasser, art press, mai 1983
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