His emphasis is most often on process and materials (or the lack thereof in the case of the latter) rather than on imbuing a work with a specific message or narrative. In this way, LeWitt challenged some very fundamental beliefs about art, including the authority of the artist in the production of a work. Instructions for these works, whether large-scale wall drawings or outdoor sculptures, were deliberately vague so that the end result was not completely controlled by the artist that conceived the work. In the spirit of the medieval workshop in which the master conceives of a work and apprentices carry out his instructions based on preliminary drawings, LeWitt would provide an assistant or a group of assistants with directions for producing a work of art. LeWitt's conceptual pieces often did take on at least basic material form, although not necessarily at his own hands.For LeWitt, the directions for producing a work of art became the work itself a work was no longer required to have an actual material presence in order to be considered art. He applied them according to formulae of his own invention, which hinted at mathematical equations and architectural specifications, but were neither predictable nor necessarily logical. LeWitt's refined vocabulary of visual art consisted of lines, basic colors and simplified shapes.
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