Julius Tobias’ work had been so roundly execrated, with justice, that perhaps a favorable word will be indulged. Clearly, these floor arrangements are unthinkable without Carl Andre, yet their withering dependency aside, there is something intriguing in the way cement elements are angled into the floor. They catch narrow shadows beneath them which suggests that shallow obliqueness may be a piercing sculptural possibility. This shift in expression moves away from Andre-like declarativeness and makes one aware that sculptural interest need not be derived from the duplication of the floor plane but as a response to pressure descending from above, toppling and angling planes as if the fulcrum of each slab has been violated.

—Robert Pincus-Witten