Nevelson was able to generate new forms and ideas by recombining and repurposing found elements, an approach used by many artists in this exhibition. This was her process for constructing her well-known monumental, monochromatic, wooden wall pieces and outdoor sculptures made from found objects and for the prints in this portfolio. Nevelson photographed her sculptures, cut the pictures up and collaged them, and then made new screenprints from the result. Dedicated to the poet Edith Sitwell, the prints are juxtaposed with twelve poems selected by Nevelson from Sitwell’s collection Façade (1923). Although the poems have no direct relationship to the images, they illuminate the way Nevelson approached relief sculptures and print as texts, experimenting with their visual grammar and syntax. Nevelson’s affinity for the witty and unconventional poet, which began shortly after Sitwell’s death in 1965, was demonstrated not only in this work, but in several sculptural homages and in her adoption of elements of her eccentric fashion as a part of her public persona. 
–History Lessons