This comprehensive monograph documents the work of Roni Horn, the natural successor to 1960s Minimalists Donald Judd, Sol LeWitt et al, but with a markedly 1980s to 1990s conceptual twist. Horn “disguises” her work as Minimalism, but infuses it with personal poetic references and unexpected emotion. Initially working only in sculpture, in industrial materials in machine-made forms, in recent years the artist has also turned to producing photographs, often of her “adopted” country Iceland, which she has visited regularly for the past 25 years. These photographs capture the subtle changes in lighting and mood in dozens of images of the same subject. Groupings of sculptures and photographs are often drawn together in large installations which, in the barely perceptible changes from one work to the next, demand the viewer’s full attention.