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In 1967 Robert Morris began producing felt sculptures, a radical departure from his prior work, which had secured his reputation as a forerunner of the Minimalist movement. Morris's felts are emblematic of a practice that sought to make the methods of art production its subject matter and to establish a direct relationship between the physical nature of the materials and the sculptural form. Morris chose industrial felt for its heft and soft tactile quality, which acquiesces to gravity unlike traditional sculptural materials. Because of its response to such forces, and its skinlike quality, Untitled makes subtle reference to the human body.