 The American artist Robert Morris is acknowledged as a key figure in the history of art after 1960. The exhibition at Moudin, organized in collaboration with the Musée d'art moderne et contemporain Saint-Etienne-Métropole, was conceived by curator Geoffrey Weiss in dialogue with Morris in the months prior to the artist's untimely death at the age of 88. The exhibition looks at sculptures and sculptural propositions first made by Morris in the 1960s and 70s. Robert Morris, the perceiving body, has been organized according to the idea of rooms. There are seven of them in which different works or bodies of work by Morris have been presented. Morris's work from this time proposed a dismantling of the conventions of art in particular sculpture. We notice that there are no plinths or pedestals in the exhibition, for example. His materials and his forms are recognizable from construction sites and everyday gestures. We see beams, we see attitudes of folding, of leaning and of scattering. But we also see an art that acknowledges us as the viewer, as free and active agents who are capable of responding and thinking in relation to that work on our own. Untitled Scatterpiece, 1968-69, is composed of some 200 different elements made from six different metals and industrial felt. This low horizontal spread of the component elements across the gallery floor dispenses with the notion of a single form mounted on a plinth. Invited to navigate the work, the viewer is obliged to physically negotiate relationships of the vertical and the horizontal and of movement and time. Three different possible configurations, flat, bent once, bent twice, define the form of each element which has been arranged according to a set of chance operations, such as the tossing of coins or the selection of random numbers. These arrangements can vary with each presentation of the work. It is this process that redefines the work in you each time it is presented. Geoffrey Weiss points out in his Guide to the Exhibition that with the three L-shaped painted plywood forms that comprise the sculpture untitled 3L from 1965, Morris dispensed with the sculptural image, both figurative and abstract, to propose instead a set of neutral objects that solicit a direct encounter with the viewer. In their scale and their orientation, standing, lying, reclining, the sculptures also point to Morris' involvement in performance and his production of objects as dance props, as well as to the idea of co-presence of the artist in the making of the work and of the viewer in their encounter with it.