Robert Irwin, Excursus: Homage to the Square³, 2015

Dia:Beacon

As I approach the exterior wall of Robert Irwin’s Excursus: Homage to the Square³, I notice the moiré pattern produced by the scrim veils against the neon lights.

I walk through rooms, paying attention to the colors of each, and how each feels different as a result.

I start to notice the architecture and geometry of the space, looking through the doorways and scrim. The repeating geometries and increasing opacity.

The way in which further doors disappear and further lights float.

The windows are covered with translucent material to limit the sunlight.

I speak to a docent about the experience. He draws my attention to the band that runs around the scrim veil at eye level.

Dan Flavin, untitled, 1970

The reflection of the blue-red light against the windows and ceiling creates a contrast with the rest of the wall, creating a sense of space for the work.

Dan Flavin, “monument” for V. Tatlin, 1966–69

I like that the zigzag wall allows me to appreciate the works either individually or collectively.

Sol LeWitt, Wall Drawing #235: The location of three points, 1974

LeWitt’s run-on instructions on the wall read like ritual chants.

Donald Judd, Untitled, 1976

The work alternates between a wall and a slope as you walk closer and further. I gasp (“phew!”) when I first experience the transition.

Richard Serra, 2000, 2000

The feeling of standing inside a Richard Serra. The disorientation of walking in then out of his spiral sculpture.

Michael Heizer, North, East, South, West, 1967/2002

Thanks to Rebecca Williams for encouraging me to share my diary entry.