Thinking outside the box: Lygia Pape's Magnetized Space at the Serpentine – in pictures

Untitled, 1954-56 Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Untitled, from Tecelar (Weavings), 1956 One of the Serpentine's galleries is full of black-and-white woodcut prints and ink drawings Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Untitled, from Tecelar (Weavings), 1958 Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Lygia Pape, Livro do Tempo (Book of Time), 1961-63, installation view 'A long wall is filled, floor to ceiling, with simple, painted wooden constructions. Each of the 365 little reliefs in Pape's Book of Time represents a day,' writes Adrian Searle Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Trio do embalo maluco (Crazy Rocking Trio), 1968 Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Photograph: rojeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Roda dos Prazeres (Wheels of Pleasure), 1968 Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Roda dos Prazeres (Wheels of Pleasure), 1968 The artist herself in a 1968 performance piece Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Roda dos Prazeres (Wheels of Pleasure), 1968, installation view at the Serpentine Gallery Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía Tteia 1,C (Web) at the Serpentine Gallery, 2011 In the Serpentine's darkened north gallery, 'shafts of glimmering golden light strike this way and that from the ceiling to the floor', writes Adrian Searle Photograph: Tony Kyriacou / Rex Features Tteia 1,C (Web), installation view at the Serpentine Gallery, 2011 Adrian Searle writes : 'The angled arrays of threads seem to intersect and pass through one another ... This is like living inside one of her woodcuts' Photograph: Tony Kyriacou / Rex Features