The Location of Lines
Cristea Roberts Gallery is pleased to present a display of prints by American artist Sol LeWitt (1928–2007)
This retrospective of prints is the first dedicated to the artist in eight years, bringing together over twenty graphic works made from 1970 – 2005, some unveiled at Cristea Roberts Gallery for the first time, in a diverse array of techniques, such as woodcut, screenprint, linocut, etching and embossing.
Printmaking became central to LeWitt’s practice in 1970, previously the artist was best known for his wall drawings and modular cube structures; his earliest works were typically sets of rigorous instructions which when followed created precise, geometric forms. LeWitt’s methodical approach, which made way for the Minimalist and Conceptual art movements, was synonymous with the collaborative and incisive nature of printmaking.
Over the course of his career, LeWitt would go on to complete nearly three hundred editioned print projects.
The gallery and exhibitions are closed over the Easter weekend from Friday 3 April - Monday 6 April 2026. Click here to see our opening hours.
Click here to download the press release
Click here to download the exhibition e-book
Thursday 5 March 2026
6.15 – 6.45pm | Conversation: Ian Davenport and David Cleaton-Roberts
6 – 7.30pm | Opening Reception
Ian Davenport and gallery director David Cleaton-Roberts will explore the prints on display in our new Sol LeWitt exhibition. They will consider how LeWitt, who studied systems of line and colour to produce works characterised by serialisation and repetition, used printmaking as a central part of his practice.
Discussing his work in relation to LeWitt’s ideas, Davenport will also unveil a new series of works on paper featuring dynamic sequences of colour applied to the surface of the paper through both control and chance.
The talk will begin at 6.15pm and is a standing event. Confirm your attendance via rsvp@cristearoberts.com
“Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.”
