new-york

Robert Morris

Leo Castelli Gallery And Sonnabend Gallery

Robert Morris’ latest New York exhibition spreads over two galleries and takes two directions. At Castelli, space is enclosed. At Sonnabend, sight lines are drawn. In one sight-line piece, four copper rods, each nine feet long, are suspended from the ceiling; their arrow-shaped tips reach almost to the floor, When the viewer stands so that three of the four rods are lined up, the fourth is revealed to be off-set. Between the group of three and the single rod, one sees a painted black line extending vertically along the far wall. As a pattern of three lines––copper, black paint, copper—is revealed, space is compressed.

Morris imposes a flattening, graphic effect on objects disposed in three dimensions. He does much the same in a piece made of bronze slabs suspended from the ceiling. They are arranged so that their various positions and volumes resolve themselves, from a certain viewpoint,

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