Sayart.net - Famous Sol LeWitt Sculpture Removed from Chicago Federal Building Due to Deterioration, Refabrication Remains Unfunded

A renowned sculpture by celebrated artist Sol LeWitt has been removed from a downtown Chicago federal building after officials determined it had deteriorated beyond repair and required complete reconstruction, according to the U.S. General Services Administration. However, the agency has not yet approved or secured funding for the extensive fabrication work needed to restore the artwork. The massive 90-foot-by-72-foot sculpture, titled "Lines in Four Directions," was mounted on the west facade of the GSA-owned building located at 10 West Jackson Boulevard in Chicago's Loop district. The work had been a prominent fixture on the building since its installation in 1985. According to GSA officials, damage was discovered on the piece during routine inspections, prompting the agency to place the artwork in storage this past March when repairs began on the leaky wall that had been supporting the sculpture. "The wall is undergoing repairs to address water infiltration," a GSA spokesperson explained. "The artwork was assessed by a fine art conservator. Due to the extent of the deterioration of the artwork, full fabrication was deemed necessary. Any refabrication would be subject to GSA approval and funding." The agency has selected the McKay Lodge Conservation Laboratory, based in Oberlin, Ohio, to handle the conservation work. The same company successfully completed the 2012 restoration of "Flamingo," Alexander Calder's distinctive vermillion-colored sculpture located in the Loop's Federal Plaza. When contacted for comment, a representative from the conservation company declined to provide details about the project. The Sun-Times was the first news outlet to report on the famous sculpture's removal from its longtime location. "Lines in Four Directions" is a rectangular work crafted from painted aluminum that faces a public plaza situated between the six-story building at 10 West Jackson and the Dirksen Federal Building. The GSA acquired both the building and the sculpture in 2000. Originally unveiled as a gift to the public in 1985, the artwork was funded through a $50,000 grant from the National Endowment for the Arts, supplemented by donations raised through the NEA-funded Art in Public Places program. The sculpture quickly became an integral part of Chicago's downtown landscape and was considered one of the city's significant public art installations. However, when "Lines in Four Directions" was suddenly removed from its prominent setting and references to the work disappeared from the GSA's official website, concerns arose within the art community about the sculpture's whereabouts and future. The work represents just one piece among the GSA's extensive collection of 26,000 artworks and artifacts maintained by the federal agency. While the GSA maintains that the decision to refabricate "Lines in Four Directions" was approved by the LeWitt estate, the late artist's widow has raised questions about the level of communication regarding the sculpture's status. Carol A. LeWitt, who traveled from Chester, Connecticut, to Chicago last week to view the Art Institute of Chicago's collection of her late husband's work, revealed that her daughter had discovered correspondence between the GSA and the estate regarding the sculpture's conservation, but noted that the communications dated back several years. "She said the GSA hasn't contacted the estate since the artwork's removal, nor has it told her where it's being stored or conserved," according to LeWitt's account of the situation. The artist's widow expressed deep concern about the sculpture's removal and uncertain future. "The idea that it was removed is terrifying because it's a site-specific work," LeWitt emphasized. "It can only be on that site. It was made for that site. And if it belongs to the city of Chicago, I hope that it's the Chicagoans who enjoy it." LeWitt stressed that the GSA should maintain better communication with her regarding the artwork's status and restoration plans. "I own the intellectual copyright. So I have a vested interest," she explained. "One of the things that Sol did, which was unusual, is he kept the copyright to all of his work. He learned the importance of that as a graphic designer. So even when he sold something, the copyright never transferred. It was about being able to control." This copyright retention was an uncommon practice among artists of LeWitt's generation, but it demonstrated his foresight in maintaining artistic control over his creations throughout their lifespan. The situation highlights broader challenges facing public art installations, particularly those exposed to harsh weather conditions and the passage of time. The removal of such a significant piece from Chicago's downtown core represents not just a conservation challenge, but also raises questions about the long-term stewardship of public artworks and the responsibility of federal agencies to maintain cultural assets. As the GSA works to secure funding and approval for the refabrication process, the fate of "Lines in Four Directions" remains uncertain, leaving both the art community and Chicago residents wondering when, or if, this beloved piece of public art will return to its designated home on West Jackson Boulevard.