In his use of plexiglass — primarily clear, but sometimes milky white or black — whiteboard or other materials, Mr. Levinson merged sculpture with aspects of painting.
But while many artists at the time, including the more austere Minimalists, often relied on outside fabricators, Mr. Levinson made his meticulous free-standing structures and wall pieces himself, sometimes by warming the plexiglass and bending it with his hands.
The works for which he first became known consisted of congruent layers of plexiglass sheets incised with fine lines that were slightly off register. Their discrepancies created a moiré pattern that was sometimes so active that the pieces almost seemed to move, resembling Kinetic Art, a closely linked trend from the early 1960s.
Mr. Levinson discovered that the greater the distance between the plastic sheets, the more active the moiré effect. With neither artistic nor scientific training, he likened the process of making his constructions to “discovering physics.”
He studied economics at the University of Pennsylvania, earning a B.A. in 1948. He had no plans to be an artist, but became open to the idea in the 1950s while undergoing psychotherapy with Richard Huelsenbeck, a founder of Dada in Berlin who was also a doctor of medicine and psychiatry.
Dr. Huelsenbeck introduced him to the work of Jean Arp and the Russian Constructivists. In particular, the Constructivists’ use of nonart materials and geometry would be an important influence.
Mr. Levinson’s first works, which he called “knife drawings,” were constructed from cut and layered whiteboard that created intricate effects of shadow and reflection..." New York Times
More on Levinson's techinque & more on constructivists & here.