Lawrence Weiner is one of the main figures in the formation of conceptual art in the sixties, alongside artists such as Sol LeWitt or Joseph Kosuth. For this artistic movement, the concept or idea is more important than aesthetic and technical issues. In LeWitt's words, "the idea becomes the machine that creates art". The use of textual language will be a fundamental tool in Weiner's work, no longer subordinated to the overall composition, but as a substitute for the brush and canvas, and with the capacity to signify. However, Weiner considers himself a sculptor rather than a conceptualist, with language being the material of construction, in any of the forms in which it can be shown: large installations, graphic work or multiples. Weiner pays special attention to the visual aspects of the text, detailing the font size and selecting the typeface (or inventing new ones) and colors. Or as in the case of his work "Apropos to Cul-de Sacs", in the collection, deciding the color and characteristics of the frame.