In the early 1960s, LeWitt first began to create his “structures,” a term he used to describe his three-dimensional work. His frequent use of open, modular structures originates from the cube, a form that influenced the artist’s thinking from the time that he first became an artist. After creating an early body of work made up of closed form wooden objects, heavily-lacquered by hand, in the mid-1960s he “decided to remove the skin altogether and reveal the structure.” This skeletal form, the radically simplified open cube, became a basic building block of the artist’s three-dimensional work. In the mid-1960s, LeWitt began to work with the open cube: twelve equal linear elements connected at eight corners to form a skeletal structure. From 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel by industrial fabricators. Each of his large open cubes is 63 inches high, approximately eye level. At this scale, the artist introduced bodily proportion to his fundamental sculptural unit.