In the 70s, Robert Morris’s name was mostly associated with the modernist movement of Minimal art. His wood and felt sculptures reflected exclusively formal preoccupations, resulting in austere, highly didactic art. The large-scale drawings he is exhibiting today reveal a completely different artist, as generous and sensitive as he was cold and distanced in the elaboration of his earlier works.

Catherine Francblin, Le Quotidien de Paris, 19 mai 1983
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