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
'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
Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía
The artist herself in a 1968 performance piece Photograph: Projeto Lygia Pape and Museo Nacional Centro de Arte Reina Sofía
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
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