1. Carl Andre, 144 Magnesium Square (in front) and 144 Lead Square (behind), 1969, installed at the Dwan Gallery, New York, in 1969, both 144 units, each 3/8 inch × 12 inches × 12 inches (1 × 30.5 × 30.5 cm), overall 3/8 inch × 12 feet × 12 feet (1 × 365.8 × 365.8 cm), Tate Gallery, London and Museum of Modern Art, New York
© Carl Andre/Artists Rights Society (ARS), New York/DACS, London, 2021; courtesy Paula Cooper Gallery, New York 24
2. Carl Andre, L E V E R W O R D S, 1966, carbon print on paper, 11 × 8 1/2 inches (29.9 × 21.5 cm), AGV Collection
© Carl Andre/Artists Rights Society (ARS), New York/DACS, London, 2021; courtesy Paula Cooper Gallery, New York. Photograph: Stephan Schenk 29
3. Carl Andre, Spill (Scatter Piece), 1966, installed at the Dwan Gallery, New York, in 1966, plastic blocks and canvas bag, 800 units (approx.) on floor, each 1 × 2 × 3 cm, overall dimensions variable, Collection of Kimiko and John Powers
© Carl Andre/Artists Rights Society (ARS), New York/DACS, London, 2021; courtesy Paula Cooper Gallery, New York 33
4. Carl Andre installing 144 Lead Square, 1969, Dwan Gallery, New York, 1969, lead, 144 units, each 3/8 inch × 12 inches × 12 inches (1 × 30.5 × 30.5 cm), overall 3/8 inch × 12 feet × 12 feet (1 × 365.8 × 365.8 cm) when fully installed, Museum of Modern Art, New York © Carl Andre/Artists Rights Society (ARS), New York/DACS, London, 2021
Photograph: Rudolph Burckhardt, Kunstbibliothek Staatliche Museen zu Berlin, Collection Marzona
© DACS, London, 2021 44
5. Robert Smithson, Mono Lake Nonsite (Cinders Near Black Point), 1968, painted steel container, cinders, and photostat site map, container 7 inches × 40 inches × 40 inches (17.8 × 101 × 101 cm), map 40 inches × 40 inches (102 × 102 cm), Museum of Contemporary Art, San Diego
© Holt/Smithson Foundation/Artists Rights Society (ARS), DACS, London, 2021 64
6. Robert Smithson, Nonsite (Oberhausen, Germany), 1968, five steel bins, slag, and five maps with black-and-white photographs, dimensions variable, Private Collection, Switzerland
© Holt/Smithson Foundation/Artists Rights Society (ARS), DACS, London, 2021 66
7. Robert Smithson, Asphalt Rundown, Rome, Italy, 1969, asphalt, earth
© Holt/Smithson Foundation/Artists Rights Society (ARS), DACS, London, 2021 67
8. Robert Smithson, Broken Circle/Spiral Hill, Emmen, The Netherlands, 1971, water, earth, topsoil, sand, and boulder, Broken Circle: diameter: 140 feet (42.6 m); canal: 11 feet 9 inches wide, 10-15 feet deep (3.6 m wide, 3-4.5 m deep); Spiral Hill: diameter: 75 feet (22.9 m) at base
© Holt/Smithson Foundation/Artists Rights Society (ARS), DACS, London, 2021 70
9. Richard Serra, Untitled, 1968, cast rubber (orange), 6 inches × 12 feet × 16 feet (15.2 cm × 3.7 m × 4.9 m), Collection: Saint Louis Art Museum, Missouri; gift of Mr. and Mrs. Joseph A. Helman
© Richard Serra/DACS, London, 2021. Photograph: Peter Moore 92
10. Richard Serra, Splashing, 1968, lead, c. 18 inches × 26 feet (45.7 cm × 7.9 m), installed in the exhibition ‘9 at Leo Castelli,’ Castelli Warehouse, New York, 1968
© Richard Serra/DACS, London, 2021. Photograph: Harry Shunk 93
11. Richard Serra, Splashing with Four Molds, To Eva Hesse, 1969, lead, c. 18 inches × 30 feet × 30 feet (45.7 cm × 9.1 m × 9.1 m), installed in the exhibition ‘Richard Serra,’ Castelli Warehouse, New York, 1969–70
© Richard Serra/DACS, London, 2021. Photograph: Peter Moore 94
12. Richard Serra, Cutting Device: Base Plate Measure, 1969, lead, wood, marble and steel, variable, c. 12 inches × 18 feet × 18 feet (30.5 cm × 5.5 m × 4.8 m), Museum of Modern Art, New York, gift of Philip Johnson
© Richard Serra/DACS, London, 2021. Photograph: Peter Moore 97
13. Richard Serra, To Lift, 1967, vulcanized rubber, 36 inches × 6 feet 8 inches × 60 inches (91.4 × 203.2 × 152.4 cm), The Museum of Modern Art, New York, gift of the artist, 2007
© Richard Serra/DACS, London, 2021. Photograph: Peter Moore 101
14. Richard Serra, Stacked Steel Slabs (Skullcracker Series), 1969, hot-rolled steel, overall 20 × 8 × 10 feet (6.1 × 2.4 × 3 m), installed in Skullcracker Yard, Kaiser Steel Corporation, Fontana, California
© Richard Serra/DACS, London, 2021. Photograph: Malcolm Lubliner 110
15. Eva Hesse, installation view ‘Eva Hesse: Chain Polymers,’ Fischbach Gallery, New York, 1968
© The Estate of Eva Hesse, courtesy Hauser & Wirth, Zürich 114
16. Eva Hesse, Metronomic Irregularity II, 1966, installed in the exhibition ‘Eccentric Abstraction,’ Fischbach Gallery, New York, 1966, graphite, paint, papier mâché, Masonite, wood, cotton-covered wire, 4 feet × 20 feet (122 × 610 cm)
© The Estate of Eva Hesse, courtesy Hauser & Wirth, Zürich. Photograph: Rudolph Burckhardt, courtesy Tibor de Nagy Gallery, New York 119
17. Eva Hesse, Aught/Augment, 1968, installed in the exhibition ‘9 at Leo Castelli,’ Castelli Warehouse, New York, 1968, latex, canvas, polyethylene sheeting, rope, metal grommets, installation variable
© The Estate of Eva Hesse, courtesy Hauser & Wirth, Zürich. Photograph: Shunk-Kender © J. Paul Getty Trust 127
18. Eva Hesse, Untitled (Rope Piece), 1970, installed at 435 West Broadway, New York, 1970, latex, rope, string, wire, 96 × 216 × 36 inches (244 × 549 × 92 cm), Whitney Museum of American Art, New York
© The Estate of Eva Hesse; courtesy Hauser & Wirth, Zürich. Photograph: Paulus Leeser 137
19. Lawrence Weiner, TWO MINUTES OF SPRAY PAINT DIRECTLY UPON THE FLOOR FROM A STANDARD AEROSOL SPRAY CAN, 1968 (reproduced in the catalogue January 5-31, 1969)
© Lawrence Weiner/Artists Rights Society (ARS), New York/DACS, London, 2021 140
20. Lawrence Weiner, cover of artist book STATEMENTS, New York: Seth Siegelaub/The Louis Kellner Foundation, 1968
© Lawrence Weiner/Artists Rights Society (ARS), New York/DACS, London, 2021. Photograph: Brian Forrest 140
21. Lawrence Weiner, installing A 36” × 36” REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALLBOARD FROM A WALL, 1969, for the exhibition ‘When Attitudes Become Form: Works – Concepts – Processes – Situations – Information,’ Kunsthalle Bern, Switzerland, 1969
© Lawrence Weiner/Artists Rights Society (ARS), New York/DACS, London, 2021. Photograph: Shunk-Kender 149