 Many of the works in the exhibition are untitled, with descriptors in parentheses. The large form objects conform to this logic of description, as opposed to evocation or symbol. Fabricated in plywood, fibreglass and steel mesh, they sit directly on the floor and in direct relation to the viewer. They exemplify Morris' use of diverse materials and his ongoing sculptural interrogations at that time. The works were also selected for the exhibition, for their shared capacity to transmit, reflect or absorb light. Morris made several dozen felt works during the 1960s and 70s. He took large sheets of industrial felt, which he then cut and folded. Morris valued felt as a material in part because of its responsiveness to gravity. We can see in these works that gravity plays an important part in the final form of the work as it hangs from the wall. The felt by Morris became exemplars of a kind of art known as anti-form, relying on its inherent properties such as weight and resistance, and in this case gravity. This term, anti-form, was first used by Morris in an essay he wrote and which was published in Art Forum in 1968, and in which he would first define the concept of process. Morris' untitled mirror cubes were first shown in 1965 at the Green Gallery in New York. Their four cubic forms relate to the primary structures of other so-called minimalist artists of the time, including Donald Judd and Carl Andre. Their mirrored surfaces, however, introduce multiplying and fragmentary dimensions that project attention onto the surrounding space and the viewer's bodies within it. Morris worked with mirrors throughout this period, exploiting their dual status as ready-made, that is to say already existing object, and a trigger for experiential and cognitive event. In the catalogue produced for the exhibition at Moudam, scholar Caroline A. Jones observes, dance and mirroring came into some kind of shaky equilibrium. The pulse we experience is the rhythm of human movement. We are struck with the simplicity of Morris' investigation using himself holding a mirror to dislocate and reflect the surrounding landscape into the lens of the filming camera. Untitled Portland Mirrors is named after the location in Portland, Oregon, where they were first shown. The work is another example of the use of mirrors by Morris. Again, he worked with the simplest of structures. Long pieces of untreated timber on an architectural scale. Despite this scale, the work has no pretensions to architecture. Like the shifting landscape of the film Mirror made eight years earlier, the work operates a perpetual shifting of perceptions of our bodies as they move through space. This idea of open-endedness is characteristic of Morris' work presented in the exhibition, and perhaps one can save his practice over all. For curator Geoffrey Weiss, such open-endedness, also evident in Morris' approach to refabricating historic pieces during his lifetime, is part of a deeper question. Does art continue to evolve beyond the time in which it is made?