Untitled 1968

Here at the Tate Modern is an untitled piece by Robert Morris, and what's interesting is how it messes with our idea of process. This hovering, pill-shaped form is really intriguing because it's both smooth and kind of rough, like something machine-made that also has the imprint of a hand. The color, this muted, greenish-brown, isn't trying to be pretty; it’s more about the material itself. It's hard to tell exactly what it's made of, which adds to the mystery. Is it heavy or light? Industrial or crafted? Look at how the light catches the slightly uneven surface, suggesting a kind of awkwardness. This reminds me of some of Eva Hesse’s sculptures, where she’s pushing against the slickness of Minimalism. Morris and Hesse, in their own ways, invite us to see and think about how forms can hold contradictions and remain open to multiple interpretations.