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Lippard -2 didn't have that much foresight, I overemphasized the Surrealist connection, which is valid enough, but in a more technical than esthetic or intentional manner. It's surrealist automatism that connect the new work even to Pollock. At the same time Andre was important with his refusal to attach his units, his particles; he let the material itself take the burden of the work even though he didn't use the kinds of materials that change shape, as Oldenburg did. It is the arrangements that can change in Andre's work not within a piece, but to make different works. Don Judd's ideas were also very important, even if his work bears no resemblance to the anti-formal or process or whatever works Judd's and Stella's non-relationallsm involved the idea if that if you have six identical boxes, neither one of them is any more important than the other; consequently there is no order because order is hierarchy. In this sense Judd's work, which everybody thought was so cold and rational, is irrational. In Morris' last article, "Beyond Object" there are a lot of Juddian ideas, applied very differently after five years. Judd, Chamberlain, Morris , anxx Andre and Oldenburg were all into materials in different very influential ways around 1966. Maybe the main connection between anti-form and so-called conceptual art is the particular idea of disorder. LeWitt's [[strikethrough]] exhaustive permit [[/strikethrough]] brought up the idea of non-visual sculpture, that is, non-visualally attractive result steering from exhaustive permutations which were as important to the conception as a whole as any of the