1960年，Sol LeWitt在纽约现代艺术博物馆担任入职职位后，第一手接触了具有里程碑意义的1960年十六位美国人展览。其中特色艺术家包括Jasper Johns，Robert Rauschenberg和Frank Stella。 LeWitt表现出独立于艺术雕塑的传统，称他的三维作品为“结构”。最初，他创造了用手涂漆的封闭木制物品。然而，在20世纪60年代中期，他认为有必要揭示内部结构只留下骨架形式。 1969年，LeWitt开始大规模地制造他的结构，通常由铝或钢制成。在20世纪80年代，LeWitt开始用堆积的煤渣块建造大型公共建筑。他于1985年开始使用混凝土为瑞士巴塞尔的一个公园创建水泥“Cube”。从1990年开始，他在世界各地的混凝土砌块塔上创造了多种变体。 LeWitt的最终结构之一是2007年在瑞典用1000多种浅色砖建造的“9塔”设计。
In 1960, after working at the Museum of Modern Art in New York, Sol LeWitt first came into contact with the landmark 16th American Exhibition in 1960. Featured artists include Jasper Johns, Robert Rauschenberg and Frank Stella. LeWitt demonstrates a tradition independent of art sculpture, calling his three-dimensional work “structure.” Initially, he created closed wooden objects painted by hand. However, in the mid-1960s, he believed it was necessary to reveal that the internal structure left only the skeleton form. In 1969, LeWitt began making his structure on a large scale, usually made of aluminum or steel. In the 1980s, LeWitt began building large public buildings with stacked cinder blocks. In 1985 he began using concrete to create a cement “Cube” for a park in Basel, Switzerland. Since 1990, he has created a variety of variants on concrete block towers around the world. One of LeWitt’s final structures was the “9-tower” design built in Sweden with more than 1,000 light-colored bricks in 2007.