P-159 R Cubic Limit I

Basic Information

Title: P-159 R Cubic Limit I
Artist(s): Manfred Mohr
Date Created: 1974
Framed Dimensions: 21.75 x 21.75 in.
Unframed Dimensions: 20 x 20 in.
Inventory ID: Mohr-1979-02


signed lower right

“New York Nov. 5 1983 AE=O” written on the back of the frame


This algorithm uses the 12 edges of the cube as an alphabet. The number of lines slowly decreases towards the sides of the outside square in a statistical procedure, while the cube slowly rotates.


In Cubic Limit, Mohr introduces the cube into his work as a fixed system with which signs are generated. In the first part of this work phase (1972–75), an alphabet of signs is created from the twelve lines of a cube. In some works, statistics and rotation are used in the algorithm to generate signs. In others, combinatorial, logical and additive operators generate the global and local structures of the images.
In the second part of this work phase (1975–77), cubes are divided into two parts by one of the Cartesian planes. For each image the two partitions contain independent rotations of a cube. They are projected into two dimensions and clipped by a square window (the projection of a cube at 0.0.0 degrees). By rotating both parts of these cubes in small but different increments, long sequences of images are developed.


Detail images of the work

More Artworks By Manfred Mohr


signed and dated lower right in graphite titled lower left in graphite artist’s name, title, date, measurements, and medium printed on artist’s label attached to the back of the frame


signed and dated in graphite lower right “Works from Mohr’s Line Cluster phase (1989-1990) are based on the 5-dimensional hyper-cube, a structure built from a set of eighty lines. A subset of twenty lines, containing four lines from each “dimensional-direction” are chosen from this structure. Each “dimensional-direction” consists therefore of four parallel lines, represented by […]


signed, titled, and dated on the reverse in graphite image conceived: 1970 drawing on canvas: 1990 “Mohr’s work is an important bridge between handmade manipulations and machine-calculated structures in art. Following a series of geometric experiments, a shift toward hard-edge painting by 1967 immediately preceded Mohr’s use of the computer as a tool for art. […]