The sculpture The Cube by Alberto Giacometti poses riddles primarily due to its ambivalence: for Cube is not a cube, but a polyhedron, and it bears a face. Giacometti referred to the cube as his only abstract work; he even described it as a failure. Georges Didi-Huberman demonstrates that the tension between the cubic (or abstraction) and the face (or human figure) defines a central problem in Giacometti's work. He reinterprets Giacometti's oeuvre through a single work and re-establishes its connections: to Surrealism, to design, to abstraction, to drawing, to volume, to melancholy, to the grave. This engagement with Giacometti outlines the fundamentals of Didi-Huberman's own thinking: interpreting the seemingly abstract Minimal Art from the perspective of the body and mortality; his mobilization of the structural potential of.