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The “rube” needed a mentor, and there was an older man (in his early thirties) at the desk who, Beery recalled, “watched people come in and out of museum … and he seemed to have plenty of time on his hands, and was easy to talk to.”3 So Beery, an aspiring artist from Racine, Wisconsin, and Sol LeWitt, an aspiring artist from Hartford, Connecticut, began the first of their many conversations during their hours on duty at MoMA, and LeWitt did for Beery, in a larger sense, what Earl Kerkam had done for him. LeWitt
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