Sol LeWitt developed his series Complex Forms in the 1980s from the two-dimensional shapes featured in his Wall Drawings at the time. To construct works like Complex Form MH 7, LeWitt would adapt polygons on paper to create the footprint of the sculpture, then assign elevations to the meeting points of the lines. The drawings would subsequently be translated into three-dimensional forms using paper maquettes, which would then be turned into more permanent structures with LeWitt’s fabricator. In contrast to the stark regularity of LeWitt’s previous sculptural works, the irregular, multifaceted nature of the Complex Forms suggested a new direction in the artist’s practice. In 1966 LeWitt had said of his rigorously linear structures, “A more complex form would be too interesting in itself and obstruct the meaning of the whole,” a sentiment that, twenty years later, the works in this series seem to directly contradict.