Ellsworth Kelly's Memorial creates an interplay of light and shadow. US Holocaust Memorial Museum
Visitors encounter Sol LeWitt’s wall drawing Consequence, situated in the Museum’s second-floor lounge, just after they leave the portion of the Permanent Exhibition dedicated to the ghettos and death camps.
LeWitt’s five large squares—what he describes as the most stable and implacable of forms—dominate the long wall, each square bordered in black and containing a central gray square outlined with a band of white. In between the white and black contours are subtly varying hues.
This rhythmic pattern of squares within squares invites introspection, while the fields of color suggest absence—lives, families, and communities made vacant as a consequence of the Holocaust.
Ellsworth Kelly’s four white wall sculptures, collectively titled Memorial, are situated in the Museum’s light-filled third-floor lounge, a sharp contrast to the dimly lit space of the Permanent Exhibition and the subject matter visitors encounter there.
The largest of the four sculptures is a fan-shaped panel, stretching almost 27 feet at its widest point and floating several inches from the wall. Opposite it are three identical, evenly spaced rectangles that also project several inches from the wall, which Kelly has likened to memorial tablets that, in their anonymity, bear the names of all the victims of the Holocaust.
Together the four pieces that constitute Memorial create a constant interplay of light and shadow that changes throughout the day.