The exuberant diversity of form of Liliane Lijn's work has both excited and perplexed the art world since she burst onto London's art scene in the mid-1960s. One of the pioneers of the transformation of scientific thought into art, Liliane Lijn traverses the regions of light, sound, movement, text, performance art, video art and objects. Her explorations have taken myriad different forms, from the early light sculptures and 'Poem Machines' of the 1960s to artists' books such as Crossing Map (1983), her performing Goddesses (exhibited at the Venice Biennale in 1986), large-scale public sculptures such as the controversial Earth Sea Light Koan (1997) on the Isle of Wight, and the intimacy and power of her recent work. The distinguished curators and writers Hilary Spurling, Enrico Mascelloni, Alessandro Vestrelli and Lara-Vinca Masini have each contributed essays discussing the different facets of Lijn's work, whereas the unusual email exchange between the artist and the critic/curator Guy Brett is an intimate and frank dialogue about her ideas and motives.