Santa Monica

A quartet of Sol LeWitt’s wall drawings from the early ‘70s joins an octet of his recent wood sculptures. The drawings are giant pencilled grids sectioned into smaller areas in which the horizontal and vertical lines steadily increase and diminish in opposition to one another. While one set of lines increases in number from two to nine, the opposing set diminishes from nine to two. A couple of the grids are formed with irregular, meandering lines, which set up a kind of static interference with the grid’s sure and steady arithmetic progression.

“Complex Forms,” the new white-painted wood sculptures, look somewhat like giant pieces of origami. “Creased” into a multitude of triangular and quadrilateral areas, each piece has a distinctive profile. Some are solid and architectural; others have interior areas open to view; still others soar in extravagant “peaks” suggestive of natural forms or erupt in subtle bulges. The multiplicity and diversity of like forms is clearly a major issue in this work, and the pieces are as serenely dazzling as a set of crystal formations. Under the arching wooden vault of the gallery’s airy new space, the eight sculptures are a glorious sight. (Daniel Weinberg Gallery, 2032 Broadway, to Jan. 13.)