From Line to Matter: Josef Albers, Carl Andre, Peter Downsbrough, Donald Judd, Sol Lewitt, Robert Mangold, Allan McCollum, Robert Morris, Kenneth Noland, Fred Sandback, Richard Nonas, Keith Sonnier, Lawrence Weiner.

Mitterrand is pleased to present a new group exhibition entitled From Line to Matter, on view from September 12 to December 20, 2025, across all of its Paris spaces.

Bringing together major figures of American Minimal and Post-Minimal art, the exhibition offers a cross-sectional perspective on a generation of artists who transformed sculptural and pictorial practices from the 1960s onward. Through a selection of representative works, it explores the fundamental principles of these movements: formal reduction, raw materiality, repetition, the relationship to the body and to space, and the physical experience of the artwork.

The horizontal structures of Carl Andre, the taut lines of Fred Sandback, the repetitive modules of Richard Nonas, and the suspended volumes of Robert Morris activate a new relationship between the artwork, the surrounding space, and the viewer—one based on direct, sensory, and physical experience rather than representation. Donald Judd, a key theorist of Minimalism, developed serial geometric modules in metal or Plexiglas that he described as “specific objects”: neither paintings nor sculptures, but autonomous entities interacting with space.

Although earlier in date, the squares of Josef Albers anticipate certain concerns of Minimalism through their formal rigor and serial approach, paving the way for an analytical understanding of perception. By introducing neon and industrial materials into space, Keith Sonnier exemplifies a Post-Minimal sensibility in which light, color, and environment become integral parts of the work. Allan McCollum, for his part, develops large-scale serial and modular compositions in which repetition does not erase singularity but rather calls it into question. His systematic approach situates his practice within a Post-Minimal trajectory that moves beyond pure formal reduction to examine the very conditions of uniqueness and reproducibility in art.

Together, these approaches reinforce the idea that Minimalism—and its Post-Minimal extension—is not a reduction but an essential density. Here, purification becomes a strategy of revelation: of line, of matter, and of our own perception. Through works by Josef Albers, Carl Andre, Donald Judd, Sol LeWitt, Robert Mangold, Allan McCollum, Robert Morris, Kenneth Noland, Richard Nonas, Fred Sandback, Keith Sonnier, and Lawrence Weiner, From Line to Matter offers a collective perspective on an aesthetic that privileges form, material, and space, without recourse to ornament or narrative.