This work, exhibited in the National Gallery of Art in Washington, D.C., is yet another conceptual idea expressed in oil on canvas by the American artist Sol LeWitt. The ironical play with the word objectivity, the term for an aptitude on which depends truth and logic, irritates the viewer and probably the artist himself. Looking at the piece of art, finished in the year 1962, one has to admit that objectivity is subjective. As in all his other works he also uses a geometrical shape for this painting , which he varies and repeats then at the same time into a geometrical order or continuation. The question is posed automatically when perceiving “objectivity”: which is the idea and which is the conclusion? The bottom or the top? We are not to find out. The objectivity is an ability we claim to have but never do. A fact that LeWitt also states in his sentences about Conceptual Art, a way of creating, perceiving and understanding art, he more or less initiated. He demands of his art to change the understanding of a principle by modifying the perception of the very subject. So he first came to the conclusion that the perception of an idea has to lead to a new idea. Conceptual art claims to reach mental conclusions that logic cannot achieve because it uses irrational judgments that entail not only repetition, as rational judgments do, but also new experiences.