new-york

Robert Morris

Leo Castelli

Robert Morris has been a reliable monitor of the art world’s pulse for 25 years. At one moment in the ’60s, he wanted the work of art to be perceived as an object in its brute materiality. Soon, however, in rhythm with the mutating taste of the time, he moved on to a less macho brand of art-making employing felt and a range of strategies aimed at dematerializing the art object. The ’80s saw another shift in Morris’ approach, again in sync with the tempo of the moment, to the grandiose historical mode in which he continues to work today.

Darkly monochromatic, cryptlike, and partially filled with sections of fossillike bas-reliefs of body parts, machine parts, branches, and other post-holocaust remains, each work in the recent show features a word or phrase embossed onto the lead surface: “Freud,” “Leo,” “Leonardo,” “Oedipus,” “Mnemosyne,” etc. The piece entitled Freud, 1990, had the

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