New York

Robert Morris

Leo Castelli Gallery

In a preface to the recent show called “Mirror Works,” Robert Morris tells of how uneasy he was when the mirror insinuated itself into his work; it seemed hard to redeem, it was so “disco-degenerate.” “Later its very suspiciousness seemed a virtue.”

Such an inversion is common with Morris: he works in tension with received ideas of sculpture to clarify just what sculpture is. In Voice, 1974, an idea of sculpture as a static and atemporal thing was used as a foil for elements more in keeping with performance. New prospects were generated for sculpture, even as it was defined critically. “Mirror Works” shows a similar strategy.

The six sculptures are warped wooden supports for mirrors that bulge in and out. The effects are fluid, infinite: any idea of sculpture as a discrete and done thing goes by the wayside. Normally we think of sculpture as an object or figure, distinct from us, within a

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