Carl Andre (September 16, 1935 – January 24, 2024) was an American minimalist artist recognized for his ordered linear and grid format sculptures.

His sculptures range from large public artworks (such as Stone Field Sculpture, 1977, in Hartford, Connecticut,[1] and Lament for the Children, 1976,[2] in Long Island City, New York), to large interior works exhibited on the floor (such as 144 Magnesium Square, 1969[3]), to small intimate works (such as Satier: Zinc on Steel, 1989, and 7 Alnico Pole, 2011[4]).

He was acquitted of a second-degree murder charge in a 1988 bench trial, causing uproar among feminists in the art world; supporters of Mendieta have protested at his subsequent exhibitions.

[7] While at Phillips Academy, he became friends with Hollis Frampton, who would later influence Andre's radical approach to sculpture through their conversations about art[8] and through introductions to other artists.

[9] Andre cited Brâncuși as an inspiration for his early wood sculptures,[10] but his conversations with Stella about space and form led him in a different direction.

His experience with blue collar labor and the ordered nature of conducting freight trains would later influence Andre's sculpture and artistic personality.

For example, it was not uncommon for Andre to dress in overalls and a blue work shirt, even to the most formal occasions.

[11] In 1965, Andre had his first public exhibition of his work in the Shape and Structure show curated by Henry Geldzahler at the Tibor de Nagy Gallery.

[citation needed] In 1972, Britain's Tate Gallery acquired Andre's Equivalent VIII, an arrangement of 120 firebricks.

The most significant essays and exhibition reviews were collated into this volume, including texts written by some of the most influential art historians and critics: Clement Greenberg, Donald Kuspit, Lucy R. Lippard, Robert C. Morgan, Barbara Rose and Roberta Smith.