Untitled

Robert Morris started his career as a Minimalist sculptor, making oversized geometric objects that staged a phenomenological encounter between the work and the body of the viewer. His emphasis on environment shifted in the late 1960s as he moved toward “anti-form,” wherein “considerations of gravity become as important as those of space,” reflecting a broader position that artworks should be dictated primarily by the organic behavior of their materials.

Beginning in 1967, Morris experimented with industrial felt in two formats: piles on the floor and rectangles hung from the wall. This early iteration of a rectangle is twice as high as it is wide, slit into eight equal strips. When hung from two nails, the weight and flexibility of the felt makes the front plane sag and bulge.