The exhibition presents Line Describing a Cone (1973), Conical Solid (1974), and Cone of Variable Volume (1974), works that invite viewers to step away from the screen and into the sculptural beams of projected light themselves. As theatrical haze catches the projector’s light, evolving geometric forms materialize in three-dimensional space, creating elegant structures that viewers can walk through, touch, and interact with. Over the course of their durations, these works transform spectators into participants and galleries into playing fields, making space for both contemplation and action.

The works begin as film animations. In Line Describing a Cone, a single white point extends into a slowly curving line, building to a full circle across its running time. The 10-minute Conical Solid (1974) projects a flat blade of light that rotates from a fixed central axis at varying speeds. Cone of Variable Volume shifts the size of a complete circle across four movements, one of which, McCall notes, builds “so that it resembles a very slow breathing.”

McCall developed these works after relocating from London to New York City in 1973, seeking to create what he described as a “film that could exist only in the moment of projection with an audience, without reference to an ‘elsewhere.’”

The solid light works emerged at the intersection of avant-garde cinema, Minimalism, and Structural Film, while also anticipating parallel movements in expanded cinema, participatory performance, and today’s immersive video installations.

Anthony McCall: First Light continues a partnership initiated in 2015-16 with Janet Cardiff’s Forty-Part Motet, through an ongoing collaboration among the Kramlich Art Foundation and Fort Mason Art.