Untitled

In Notes on Sculpture, an influential series of essays from 1966, Robert Morris formulated an argument for the rigid, cubic shapes of Minimalist sculpture. Two years later, he dramatically shifted this viewpoint, proposing “anti-form”—sculpture composed of indeterminate objects with indefinite possibilities in which the “material reveals the form.” For Morris, felt could free sculpture from overdetermined structure and allow him to explore its fundamental properties. He began cutting and installing industrial felt in various configurations, ranging from rolled or tangled heaps on the floor to neatly folded geometric patterns hung on a wall. In Untitled the perpetual pull of gravity is an evident and integral part of the work, creating an elegant balance between the weight of the fabric and its overall structur