Spivey, Virginia B., “Sites of Subjectivity: Robert Morris, Minimalism and Dance,” Dance Research Journal, 35-36, (Winter 2003/Summer 2004): 112-30.

In a career spanning over forty years, Robert Morris has produced theoretical articles, paintings, videos, installations, and environmental art in addition to his work in
dance; nevertheless, the American artist remains best known for his Minimalist sculptures of the i96os (Figs. 2 and 3). Like the works of his colleagues Donald Judd and
Carl Andre, Morris’s spare, geometrical objects of that period were three-dimensional
and called attention to issues of site and artistic context. They also resisted past artistic
conventions based in subjective methods of composition, expressivity, and metaphor.
Morris, however, distinguished himself among this group of visual artists by the emphasis he placed on the viewer’s bodily relationship with the art object, a distinction
that derives directly from his unique involvement in avant-garde dance.