new-york

Robert Morris

Castelli Gallery

At this writing, the third and last installment of the Morris exhibition at Castelli has not yet been mounted. The fact that the sculptor’s work is made to unfold successively rather than simultaneously in time, while it may be due to the restricted space of the gallery, is symptomatic also, of a larger program, of a definite, but bewildering intention. For one cannot see all at once the self-evident, cannot piece together the literal. This peculiar condition applies to his overall production itself, hauntingly variegated in its syntax, but never seeming eclectic or derivative in the light of a strategy that knows precisely where it is going, and that declares itself with an extraordinary economy.

Let me sketch a four point exposition of what I consider the main, intertwined issues in his outlook, as they have culminated in the present show. They are 1) a reference to the image of the body,

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