Mr. Weiner is rightly seen as a founding figure of Postminimalism’s Conceptual arm, which includes artists like Douglas Huebler, Robert Barry, Joseph Kosuth and Sol LeWitt. But he might better be described as a language-based sculptor. He folds together the skills of a Russian Constructivist graphic designer, a Socratic philosopher, a Dada-Fluxus joker, a Concrete poet and a Madison Avenue ad executive with an astute sense of both semiotics and public display. And his penchant for starkly plain typefaces and for stacking phrases up walls like Judd boxes, combined with his emphasis on language’s visual and spatial qualities, also gives him a few Minimalist bona fides.