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Art Basel

Past
Jun 14 – Jun 19, 2022
Basel
 
Art Fair Details:

Art Basel
Booth A8
Jun 14 – 19, 2022

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Press Release

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Above: Loie Hollowell, Split orbs in teal, purple, and fuchsia, 2022 © Loie Hollowell

Pace is pleased to detail its presentation for the 2022 edition of Art Basel.

The gallery’s booth will reflect the breadth of its program as well as its strong relationships with distinguished collectors, featuring 20th century masterpieces, contemporary painting and sculpture, and cutting-edge digital works that underscore Pace’s commitment to supporting its artists’ advanced studio practices.

For this year’s Art Basel, the gallery has been entrusted with major works by Joan Mitchell, Helen Frankenthaler, Pablo Picasso, Andy Warhol, Jean Dubuffet, Mark Rothko, Robert Rauschenberg, and Sigmar Polke from significant private collections and estates. Pace’s booth will foreground the enduring potency and impact of these masterworks, which were created by some of the most important artists of the 20th century. Mitchell’s vibrant, frenetic painting Bergerie (1961-62) and Frankenthaler’s 1962 painting Yellow Games exemplify the artists’ virtuosic abstractions. Pace’s presentation of Picasso’s late-career painting Nu assis (1972), created a year before the artist’s death and held in a private collection since 2014, reflects the gallery’s long relationship with the Picasso family and estate.

Pace’s Art Basel presentation will showcase works by artists with ongoing projects in Venice: Huong Dodinh, Latifa Echakhch, Kiki Kogelnik, Lee Kun-Yong, Louise Nevelson, and Hermann Nitsch. It will feature vibrant paintings created by Kogelnik in the 1960s, including her 1964 work Outer Space, produced following her move from Austria to New York. This dynamic painting, which features floating silhouettes amid a sea of orbs and other geometric forms, speaks to Kogelnik’s unique engagement with and approach to the Pop movement, particularly the work of Roy Lichtenstein. The booth also includes elegant, minimalist compositions by Dodinh, who joined the gallery in 2022; new works incorporating concrete and acrylic by Echakhch; a Bodyscape painting by Lee, a leading figure of the Korean avant-garde who unites performance with other mediums; a black painted wood sculpture made by Nevelson in 1975; and highly experimental paintings by Nitsch, who died this year at age 83.

Spotlighting the gallery’s international contemporary program are new paintings by Loie Hollowell, who meditates on the processes and capabilities of the human body through her geometric abstractions, and Adrian Ghenie, whose semi- abstract, layered works are deeply engaged with history, memory, and social tumult. Green Pool with Diving Board and Shadow (Paper Pool 3), a 1978 work on paper by David Hockney, will also be presented in the booth.

New works by Kylie Manning and Maysha Mohamedi, both of whom joined Pace’s program in 2022, will figure in the gallery’s contemporary offerings on its booth. Manning’s painting More or Less (2022) features an ambiguous figurative scene rendered in warm pink, yellow, and orange tones. Mohamedi’s painting The Brother Framework (2022) highlights the artist’s masterful use of color in her illimitable abstract compositions, through which she references her personal history, everyday experiences, and key constellations in her own cultural matrix.

The gallery’s contemporary program will also be represented in its booth with The World of Irreversible Change (2022), a new six-channel, interactive digital work by teamLab, an interdisciplinary art collective that will be the subject of a solo exhibition at Pace’s Geneva gallery during Art Basel’s run, and Relatum – play of primitive (2015), an installation by Lee Ufan, who recently opened a sprawling museum dedicated to his art in Arles, France.

Pace’s presentation at Art Basel will include a new work from Jeff Koons’s first-ever NFT project, titled Jeff Koons: Moon Phases and presented by Pace Verso, the gallery’s Web3 arm. Jeff Koons: Moon Phases will make its world premiere in the gallery’s booth, where a mirror-reflective, stainless-steel sculpture of the Moon will be on view. This sculpture represents one component of the multifaceted project, which also comprises sculptures that will be installed on the Moon in perpetuity and NFTs that correspond with each sculpture on the Moon and the Earth. Like the other stainless-steel sculptures that will remain on the Earth as part of the project, the work in Pace’s booth features a small precious stone, positioned to indicate the location of the landing site of the Moon-bound sculptures. The sculptures remaining on the Earth can be understood in relation to Koons’s famed Equilibrium series and iconic stainless-steel Rabbit sculpture from the 1980s.

 
Presented by Pace Verso

Jeff Koons: Moon Phases

Jeff Koons, Moon Phase (Leonardo da Vinci), 2022, Non-fungible token, ID: #[TBD], Contract ID: [TBD] (“NFT Component”), Earth Component: Approximately 15-1/2" (39.4 cm) sculpture Moon Component: Approximately 1" (2.5 cm) sculpture

Pace’s presentation at Art Basel marks the world premiere of Jeff Koons’s first-ever NFT project, titled Jeff Koons: Moon Phases. Presented by Pace Verso, the gallery’s Web3 arm, the project comprises 125 unique works, each consisting of three components: sculptures that will be installed on the Moon in perpetuity, sculptures that will stay on the Earth, and NFTs that correspond with each sculpture on the Moon and the Earth. Centering on the Moon as a symbol of human curiosity, determination, and achievement, Jeff Koons: Moon Phases is the artist’s most ambitious work to date. The gallery’s booth showcases one of the mirror-reflective, stainless-steel sculptures depicting the Moon that will remain on the Earth—each of these works features a small precious stone, positioned on the sculptures to indicate the location of the landing site of the Moon-bound sculptures. The sculptures remaining on the Earth can be understood in relation to Koons’s famed Equilibrium series and iconic stainless-steel Rabbit sculpture from the 1980s.

The artworks within Moon Phases are each associated with people who have made accomplishments in human history. The list of names is universal, including individuals from various parts of the world, fields, and time periods, with Plato, Nefertiti, Artemisia Gentileschi, Andy Warhol, Gabriel García Márquez, Mahatma Gandhi, Sojourner Truth, Leonardo da Vinci, Ada Lovelace, David Bowie, and Helen Keller among them. These and other names will be individually displayed in front of the Moon Phases, memorializing the figures on the occasion of the Moon mission in 2022. In this way, Koons honors some of the greatest achievements of the past to inspire future generations.

With this project, Koons continues to explore themes of connectivity and acceptance, which have become hallmarks of his practice.

Learn More

 

Featured Works

Pablo Picasso, Nu assis, 1972, oil on canvas, 76-3/4" × 51-3/16" (194.9 cm × 130 cm)

Pablo Picasso

b. 1881, Malaga, Spain
d. 1973, Mougins, France

Painted in Mougins in the South of France, where Picasso and his wife Jacqueline Roque lived for 12 years, Nu Assis (1972) exemplifies the artist’s late style. Completed a year before his death in 1973, the present work was made during a highly prolific period in the late 1960s and early 1970s. Picasso produced over 200 paintings between September 1970 and June 1972. As noted by art historian Werner Spies, this final painting style developed in Mougins “followed upon compositions that employed clearly defined contours based on geometry,” connecting these paintings to his last sculptural works in sheet iron.

The familiar seated figure and emotive subject matter of Nu Assis evoke Picasso’s surrealist period (or Bone Style) from the 1920s and 1930s, characterized by biomorphic shapes and muted tones. Nu Assis also calls to mind Picasso’s Artist and His model series, which he initiated in 1963 and continued throughout his career.

Picasso personally selected Nu Assis, along with 200 other late paintings, for his revelatory exhibition at the Palais des Papes in Avignon in 1973. Opening six weeks after the artist’s death, this was the first posthumous display of his work. Critics initially found the exhibition simplistic and loose in style and form, but Picasso’s mature works have since achieved high critical acclaim. Of his continued reinvention of modern art, art historian Gert Schiff has noted, “all through his career Picasso was ahead of his audience by just ‘one’ period.” Exhibited widely, Nu Assis was once owned by collector Bernard Ruiz-Picasso— grandson of the artist and his first wife, Olga Khokhlova—and it was later part of the collection of his foundation in Brussels, Fundación Almine & Bernard Ruiz-Picasso para el Arte. The present work was also loaned from the foundation to the Museo Picasso Málaga in Spain and described in its catalogue by art historian Francisco Calvo Serraller: “I do not believe there could be a finale more well-rounded or exemplary than that of this late Picasso.” Created at a time of profound reflection for the artist, Nu Assis is a singular example of Picasso’s continuous synthesis and renewal of style in the last years of his life.

David Hockney, Green Pool with Diving Board and Shadow (Paper Pool 3), 1978, colored, pressed paper pulp, 50-1/4" × 32-1/4" (127.6 cm × 81.9 cm)

David Hockney

b. 1937, Bradford, England

Mark Rothko, Untitled, 1969, acrylic on paper mounted on canvas, 24" x 18" (61 cm x 45.7 cm)

Mark Rothko

b. 1903, Dvinsk, Russia
d. 1970, New York, New York

Joan Mitchell, Bergerie, 1961-62, oil on canvas, 118-1/4" × 78-3/4" (300.4 cm × 200 cm)

Joan Mitchell

b. 1925, Chicago, Illinois
d. 1992, Paris, France

Bergerie (1961–62) is a pivotal example of Joan Mitchell’s work from the early 1960s, a time of exploratory creation for the prodigious expatriate painter. Having left the predominantly male-dominated art world of New York City for Paris in 1959, Mitchell created space between her known world and opened herself up to new means of abstraction. After moving to her Rue Frémicourt studio in Paris with her partner, painter Jean-Paul Riopelle, the two frequently traveled around France, finding respite on the Côte d’Azur and Corsica Island. Inspired by the coastal landscape, Mitchell’s works during this period reflect her state of mind and the color palette of her surroundings—primarily through rich blues, jeweled greens, and deep orangey-reds, which would remain constants throughout her work. In 1961, Mitchell and Riopelle rented La Bergerie, a villa in Cap d’Antibes, where they spent the summer with Riopelle’s daughters, Sylvie and Yseult. The artist most likely began Bergerie here or else reimagined the work upon returning home to Paris that fall. In her observations of the natural world, Mitchell seeks to capture its emotional impact, a retelling of her reaction to an environment. On this self-aware practice, Mitchell notes, “that particular thing I want can’t be verbalized [...] I’m trying for something more specific than movies of my everyday life: To define a feeling.”

Bergerie embodies the French Riveria coastline and mood, with imagery of this wild terrain imprinted into Mitchell’s recent memory. Complex and alive, the present work is a topological landscape, and at its epicenter is a winding knot of saturated color. The muted pastel and white background stabilize the picture plane while highlighting the emergence of sparring, vein-like brushstrokes. However haphazard they may appear, Mitchell’s compositions are well-controlled. Mitchell deftly shaped her immediate environments and landscapes from memory, and of this notion of aesthetic control, she once said, “I decide what I am going to do from a distance. The freedom in my work is quite controlled. I don’t close my eyes and hope for the best. If I can get into the act of painting, and be free in the act, then I want to know what my brush is doing.” In Bergerie, the artist carefully forms each brushstroke in response to the last and in anticipation of the next.

Helen Frankenthaler

b. 1928, New York
d. 2011, Darien, Connecticut

Helen Frankenthaler, Yellow Games, 1962, oil on canvas, 58" × 70-1/2" (147.3 cm × 179.1 cm)

Painted during an exploratory period for the artist, Yellow Games (1962) exemplifies Helen Frankenthaler’s developing abstract vocabulary. It is a compelling example of her early 1960s work, as she established a signature style that later defined her oeuvre. Playing with the relationship between color and form, Frankenthaler considered the white background of her cotton duck canvas a key component of the total composition. She found it gave her work significant depth, with the open space allowing her painted forms to bleed into the canvas deliberately. In this work, ink-like swathes form a calligraphic image, outlined by slicks of oil and highlighting choreographed filaments of primary colors.

Fluid and controlled, the movement of shapes throughout the present work conveys an abstract expressionist modality through the application of poured paint, which removes the artist’s hand or brushstroke. Frankenthaler found this method—separated from traditional easel and paintbrush—liberating. It allowed her to create a work whose object and subject are solely painting. She did not want the tools of her practice to overwhelm the painting itself, expressing in the definitive documentary Painters Painting: The New York Art Scene 1940–1970 (1973), “I used relatively few brushstrokes [...] since increasingly as I have been working, I didn’t want the sign of the brush or how the picture was made to appear.”

Elizabeth A. T. Smith, art historian and current executive director of the Helen Frankenthaler Foundation, notes the significance of Yellow Games within the artist’s time of experimental development, seeing it as “more structured, emphatic, and declarative [...] there is no airiness of effervescence in Yellow Games; it is a bolder, more graphic statement in the family of other early-1960s works [...] In this respect it also extends features that began to appear in Frankenthaler’s work in the later 1950s.”

Jasper Johns, Untitled, 1991, encaustic on canvas, 32" × 22-1/2" (81.3 cm × 57.2 cm)

Jasper Johns

1930, Augusta, Georgia

Untitled (1991) exemplifies Jasper Johns’s singular artistic hand and mastery of combining autobiographical and art historical references. The artist often investigates pre-existing images by breaking them down to their simplest form, usually tracing an outline, flipping or inverting them, and filling them with crosshatching or other marks. This approach allows Johns to balance representation and abstraction. The artist has famously said, “Take an object / Do something to it / Do something else to it. [Repeat].” He has mined works by artists such as Edvard Munch, Pablo Picasso, Marcel Duchamp, Hans Holbein, and Matthias Grünewald, as well as his own personal history, including images of body parts and stamps made from objects around his studio. In 1988 he completed Montez Singing, a series dedicated to his paternal step- grandmother, who raised him until the age of 16. This series was also inspired, in part, by Picasso’s Woman with a Straw Hat (1936). The present work, which belongs to the Green Angel series, shows Montez’s eyes, nose, and lips in each of the four quadrants of the canvas. A mysterious, amorphous outline is layered on top of these fragmented features at the center of the composition.

In April 1990, the artist introduced the “Green Angel” motif into his practice. As in the present work, this motif has appeared in over 40 paintings, drawings, and prints, the first of which, Green Angel (1990), was the poster image for his 1991 exhibition at Leo Castelli Gallery Jasper Johns: Paintings and Drawings. While he had previously confirmed the origins of other references, Johns had grown increasingly disheartened by critics’ conclusions about his work. By withholding the source material for the Green Angel, he presented the viewer with an image they had to respond to directly, without prior knowledge or associations.

Some art historians have posited that the image references Hans Holbein’s Portrait of a Young Nobleman Holding a Lemur (1541), Auguste Rodin’s Torso of the Woman Centaur and Minotaur (ca. 1910), or Michelangelo’s Pietà (1498–99).

Sigmar Polke, Der Froschkönig in seinem Garten / (The Frog Prince in his Garden), 1997, resin on polyester fabric, 53-15/16" × 46-1/16" (137 cm × 117 cm) 59-1/16" × 51-1/8" × 1-1/2" (150 cm × 129.9 cm × 3.8 cm), framed

Sigmar Polke

b. 1941, Oleśnica, Poland
d. 2010, Cologne, Germany

Exemplary of Sigmar Polke’s lifelong investigation of the tension between figuration and abstraction, Der Froschkönig in seinem Garten (1997) is a powerful, saturated work with a surprisingly narrative title. Roughly translating to “The Frog Prince in his Garden,” the title calls to mind the first story in The Brothers Grimm (1812) publication of fables, fairy, and folk tales.

The juxtaposition of the descriptive title and the abstract composition questions the boundary between figuration and abstraction, how they can exist simultaneously between the two modes of creation. Looking closer, both the original tale and the present work invoke the alchemical properties of transformation. Polke often experimented with unusual mediums, combining pigments and surprising elements such as arsenic, lavender oil, meteor dust, and snail mucin. This method required him to relinquish control over the outcome of the final image and left much up to chance.

Polke completed Der Froschkönig in seinem Garten in 1997 during his Laterna Magica series, which he began in the 1980s and continued through the 1990s. Laterna Magica refers to the 17th century optical invention used to project an image. The series comprises resin on transparent fabric stretched between wooden frames made by the artist himself. It also depicts ethereal figures, landscapes, and scenes from a variety of fairy tales, folklore, and children’s fables and exemplify his inventive style. Composed of jewel tone hues, reds, golds, greens, and blues dripping down the canvas, the present work is a masterful example of Polke’s examination of the transformative qualities of painting.

Adrian Ghenie

b. 1977, Baia Mare, Romania

Adrian Ghenie, Self-Portrait ‘en plein air’ 3, 2022, oil on canvas, 185 cm × 285 cm (72-13/16" × 9' 4-3/16")

Jeff Koons

b. 1955, York, Pennsylvania

Jeff Koons, Gazing Ball (Tintoretto The Origin of the Milky Way), 2016, oil on canvas, glass, and aluminum, 63" × 70-1/2" × 14-3/4" (160 cm × 179.1 cm × 37.5 cm)
Richard Pousette-Dart, The Fountain, 1960, oil on canvas, 75-1/2" × 56" (191.8 cm × 142.2 cm)

Richard Pousette-Dart

b. 1916, Saint Paul, Minnesota
d. 1992, New York

Antoni Tàpies

b. 1923, Barcelona
d. 2012, Barcelona

Antoni Tàpies, Soc terra, 2004, soil, spray paint, and pencil on canvas, 68-7/8" x 78-7/8" (174.9 cm x 200.3 cm)
Adolph Gottlieb, Pink and Blue, 1971, oil on linen, 90" x 60" (228.6 cm x 152.4 cm)

Adolph Gottlieb

b. 1903, New York
d. 1974, New York

Louise Nevelson, Dark Cryptic XXV, 1975, black painted wood, 16-1/2" × 16" × 15-3/4" (41.9 cm × 40.6 cm × 40 cm), open 3-1/2" × 16" × 15-3/4" (8.9 cm × 40.6 cm × 40 cm), closed

Louise Nevelson

b. 1899, Kiev
d. 1988, New York

Joel Shapiro, untitled, 2007/2022, painted bronze, 9' 4" x 4' 7-7/8" x 2' 11-1/2" (284.5 cm x 141.9 cm x 90.2 cm)

Joel Shapiro

b. 1941, New York, New York

Yoshitomo Nara, Peace on Your Feet, 2004, colored pencil and acrylic on paper, 52-1/8" × 45-5/8" (132.4 cm × 115.9 cm) 59-3/8" × 58-7/8" × 2-13/16" (150.8 cm × 149.5 cm × 7.1 cm), framed

Yoshitomo Nara

b. 1959, Hirosaki, Aomori, Japan

Yoshitomo Nara, Hello Goodbye Fuck You, 2021, pencil on paper, 65 cm × 50 cm (25-9/16" × 19-11/16")
Yoshitomo Nara, No Nukes Song, 2021, pencil on paper, 65 cm × 50 cm (25-9/16" × 19-11/16")
Yoshitomo Nara, In the Puddle, 2021, pencil on paper, 65 cm × 50 cm (25-9/16" × 19-11/16")
Sam Gilliam, Empty, 1972, acrylic on canvas, 72" × 73-1/4" (182.9 cm × 186.1 cm) 189 cm × 193 cm (74-7/16" × 76" frame

Sam Gilliam

b. 1933, Tupelo, Mississippi

Sam Gilliam, Tracing, 1971, acrylic on canvas, 48-1/4" × 71-1/2" × 4-3/4" (122.6 cm × 181.6 cm × 12.1 cm)

Alexander Calder

b. 1898, Lawnton, Pennsylvania
d. 1976, New York, New York

Alexander Calder, Vache (Cow), c. 1929, wire, 7-3/4" x 14" x 2-1/2" (19.7 cm x 35.6 cm x 6.4 cm)
Alexander Calder, Lines of Flow, 1947, oil on canvas, 30" x 40" (76.2 cm x 101.6 cm)
Jean Dubuffet, Le porteur d’horloge 4 avril 1965, 1965, vinyl paint on canvas, 63" × 31-1/2" (160 cm × 80 cm)

Jean Dubuffet

b. 1901, Le Havre, France
d. 1985, Paris

Jean Dubuffet, Saïmiri, May 1954, éponge, 15-1/2" × 6" × 5" (39.4 cm × 15.2 cm × 12.7 cm)
Jean Dubuffet, Sorcière, 1954, cork root and stones, 6-3/4" × 4-1/4" × 3-1/2" (17.1 cm × 10.8 cm × 8.9 cm)
Jean Dubuffet, Vieillard, June 1954, Charbon de bois, 11-1/4" × 2-1/2" × 2-1/2" (28.6 cm × 6.4 cm × 6.4 cm), sculpture 2-5/8" × 2-1/4" × 2-1/2" (6.7 cm × 5.7 cm × 6.4 cm), base 11-3/4" × 2-1/2" × 2-1/2" (29.8 cm × 6.4 cm × 6.4 cm), overall
Claes Oldenburg, Vacuum Cleaner, 1964-1971, aluminum, vinyl, plastic, rubber, carpet, lightbulb and cord, 64" x 29" x 29" (162.6 cm x 73.7 cm x 73.7 cm)

Claes Oldenburg

b. 1929, Stockholm, Sweden

Kiki Kogelnik

b. Graz, Austria, 1935
d. Vienna, Austria, 1997

Kiki Kogelnik, Outer Space, 1964, oil and acrylic on canvas, 72" × 54" (182.9 cm × 137.2 cm) framed, 75-9/16" × 57-5/8" (191.9 cm × 146.4 cm)
Kiki Kogelnik, Really George, You Shouldn't Have, 1966, Oil and acrylic on canvas, 44" × 24-1/8" (111.8 cm × 61.3 cm)
Andy Warhol, Self Portrait, 1967, synthetic polymer paint silkscreen on canvas, 22" × 22" (55.9 cm × 55.9 cm) framed, 22-5/8" × 22-5/8" (57.5 cm × 57.5 cm)

Andy Warhol

b. 1928, Pittsburgh, Pennsylvania
d. 1987, New York

Elmgreen & Dragset, Boy With Gun, 2021, bronze, steel, lacquer, 82-1/16" × 19-11/16" × 19-11/16" (208.4 cm × 50 cm × 50 cm)

Elmgreen & Dragset

Michael Elmgreen | b. 1961, Copenhagen, Denmark
Ingar Dragset | b. 1969, Trondheim, Norway

Hermann Nitsch

b. 1938, Vienna
d. 2022

Hermann Nitsch, Untitled, 1960, Emulsion on canvas, 85.7 cm × 122.3 cm × 4.5 cm (33-3/4" × 48-1/8" × 1-3/4")
Hermann Nitsch, Untitled, 1960, Dispersion and Tempera on canvas, 112 cm × 141 cm (44-1/8" × 55-1/2")
Hermann Nitsch, Schüttbild, 1992, Oil and blood on jute, 270 cm × 300 cm (8' 10-5/16" × 9' 10-1/8")
Barbara Hepworth, Single Form, 1937, cast in 1962, Polished Bronze from Lignum vitae original, 57 cm × 21.5 cm × 14 cm (22-7/16" × 8-7/16" × 5-1/2")

Barbara Hepworth

b. 1903, Yorkshire
d. 1975, St. Ives, Cornwall

Robert Longo, Untitled (End of the Empire)-working title, 2022, charcoal on mounted paper, 96" × 115-1/2" (243.8 cm × 293.4 cm)

Robert Longo

b. 1953, Brooklyn, New York

Robert Rauschenberg

b. 1925, Port Arthur, Texas
d. 2008, Captiva, Florida

Robert Rauschenberg, Rose Dam (Shiner), 1987, acrylic, metal object, stainless steel, aluminum, 48" × 84" (121.9 cm × 213.4 cm)
Robert Rauschenberg, Lafayette Labyrinth (Salvage), 1984, acrylic on canvas, 50-1/4" × 85-1/2" (127.6 cm × 217.2 cm)
Loie Hollowell, Split orbs in teal, purple, and fuchsia, 2022, Oil, acrylic medium, and high-density foam on linen over panel, 48" × 36" × 3-3/4" (121.9 cm × 91.4 cm × 9.5 cm)

Loie Hollowell

b. 1983, Woodland, California

Lynda Benglis, Hooker, 2022, White Tombasil bronze, 22-11/16" × 21-5/8" × 22-11/16" (57.6 cm × 54.9 cm × 57.6 cm), estimated dimensions

Lynda Benglis

b. 1941, Lake Charles, Louisiana

Lee Kun-Yong

b. 1942, Sariwon, Korea

Lee Kun-Yong, Bodyscape 76-1-2022, 2022, acrylic on canvas, 171 cm × 227 cm (67-5/16" × 89-3/8")
Lee Ufan, Relatum - play of primitive, 2015, steel and stone, 62" × 52" × 28-1/2" (157.5 cm × 132.1 cm × 72.4 cm), overall installation 15-1/2" × 18" × 17" (39.4 cm × 45.7 cm × 43.2 cm), stone 2-1/2" × 63-1/4" × 2-1/2"(6.4 cm × 160.7 cm × 6.4 cm), steel pole

Lee Ufan

b. 1936, Kyongsang-namdo, South Korea

Lee Ufan, Untitled (titled TBD), 1976, graphite on paper, 22-5/8" × 30-1/8" (57.5 cm × 76.5 cm)