Reich first saw LeWitt’s work in Primary Structures, a seminal exhibition of minimal art organized by Kynaston McShine that took place at the Jewish Museum in 1965. Reich visited LeWitt’s studio shortly after. In 1970, LeWitt approached Reich with an unusual request: to purchase one of the composer’s musical scores. Reich acquiesced, sold LeWitt the score for Four Organs (1970), and used the money to buy the four glockenspiels he used to play Drumming (1970-71). These instruments––and the score, which remains in the collection of the late artist’s estate––are additional mementos of the extended collaboration between the two artists.
Wall Drawing #1237 is strikingly simple: one of a handful of Scribbles wall drawings that extend from the floor to the ceiling, it contains a single vertical strip of white centered between two masses of markings. Seen up close the graphite shimmers, drawing attention to the smooth surface of the wall, momentarily disrupting the spatial illusion created by the chiaroscuro.
A diagram for the rise and fall of each curve was used to structure the space on the wall before the scribbling began, and drafters of Scribbles have described how these wall drawings are particularly exhausting to execute. But understanding the labor does nothing to detract from the anthropomorphic effect of the wall drawing, installed between two windows at the scale of the human body. For Reich, it is no stretch of the imagination to see the opening as a view into another world, a world where LeWitt might be.