The other night I had a dream that I was searching for one of Sol LeWitt’s cubes in an ancient temple turned into a modern tourist attraction. I won’t go into detail, but the whole dream embodied this strange tension between spirituality, diversion, and aesthetics; not to mention antiquity and modernity.

The morning after this dream, I came across an article in the New York Times about Gregor Schneider’s black cube sculpture in Hamburg. This piece is intended to resemble the Kaaba, a huge cube at the center of the Great Mosque in Mecca. Although there is no law in Islam against representing the Kaaba (and it has been represented many times), the piece has been considered too politically charged to show by several institutions. It is now finally being shown outside the Hamburger Kunsthalle as part of an exhibit honoring Malevich.

There are too many convergences here for me to follow all the threads, but the transformation of the cube from spirit (Kaaba, and also New Jerusalem), to feeling (Malevich), to concept (LeWitt), to politics (Gregor) is really leaving me speechless right now.