Sol LeWitt came to prominence in the 1960s with both two- and three-dimensional work that favored logical systems over Abstract Expressionism, creating artwork that reckoned with geometric form as both physical and conceptual gesture. His experiments in Minimalism expanded traditional definitions of art with radical implications, emphasizing the importance of the determining idea of a piece over the physical piece itself. In a 1967 essay for Artforum, ‘Paragraphs on Conceptual Art,’ LeWitt coined the term ‘conceptual art’ to describe his philosophy. “In conceptual art,” he wrote, “the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” LeWitt’s wall drawings, which may be his best-known works, take this philosophy to its natural extreme. These revolutionary works start as brief written instructions or simple diagrams, just specific enough to ensure straightforward execution. LeWitt’s involvement, however, ends with these instructions, and execution of the drawing itself is left to others: LeWitt’s concept is the art, not the finished drawing. Included in this selection is one such set of instructions – Wall Drawing 70 Photocopied Certificate and Diagram – a document which outlines a larger wall piece in concept, and authenticates its creation. Also included in this selection are several original postcards promoting LeWitt’s exhibitions in the 60s and 70s at Konrad Fischer Galerie in Düsseldorf, Germany. Founded in 1967, Konrad Fischer Galerie was among the earliest champions of Minimal, Post-Minimal and Conceptual art in Europe, and the site of the first European solo shows of many influential artists including Bruce Nauman, Richard Long, Lawrence Weiner and Sol LeWitt himself. Characteristically, several of these cards feature written instructions or descriptions of pieces rather than the pieces themselves. “Projects Class 1969” is a collection of project proposals submitted by LeWitt and other prominent conceptual artists of David Askevold’s revolutionary Projects Class at Nova Scotia College of Art and Design: LeWitt’s contribution encourages students to create works that are subversive and are not original, among other options.