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Sharing the same aesthetic concerns with pristine, elemental elegance in the sculpture of Robert Morris. Of
the pieces installed at the Dwan Gallery, all but one (that one was plywood) were constructed of fiberglass, with the prevailing light gray pigmetation mixed right into the material itself. Most immediately arresting perhaps was the four-element work composed of fiberglass which was cast in negative plywood mold. The four parts were arranged whitin a square-at the gallery it was nine feet along the edge; but the disposition of the parts may vary, according to Morris, so that all four come together, or so that they are spread even further apart. While the artist's intent may not have been to create "architectural" sculpture, the effectiveness of this sculpture in transforming the space around it seems to be a major achievement. One work has two semi-circular fiberglass forms almost adjoining, with interior artififcial lighting, and translucent plastic covering the ends. Another long block of (again) gray fiberglass rests only upon two edges, curving as it does very slightly, like an almost flattened Japanese bridge (the arc of a seventy-five foot radius circle establishes the curve). But perhaps the mot audaciously reducd work is composed of three triangular corss-sectioned pieces, joined end to end. Already almost impossible to photograph, presumably Morris would add even more sections, extending it forever, something like a hirizontal variant of Brancusi's Endless Column.
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