In the U.S., the art of the''60s was characterized dall''iserimento works of industrial materials hitherto little usual.
The interest shifts toward processes and outcomes that go beyond dell''univocità and clarity, order and stability in favor of open situations, changeable, uncertain. It has a smaterializazzione of sculpture and an overrun of the object itself concluded.
At the base there is a free and experimental manipulation of matter and its ability to interact with the instability and notevolezza of contingent factors (environment, gravity, light, perishability).
The idea is that the work is a process episode unlimited.
Attention is focused on materials that can be suspended, cut, fill, pull, rip: afflosciano which is rolled up, floating, join, change over time.
Plastics, textiles, synthetic resins, fiberglass, rubber, stimulate a free handling, which re the importance of the gesture of the manual, the operating process, both banned by Pop Art and from Minimal Art (remember the Soft Scupltures 1962 Oldenburg ).
Among the artists Richard Serra remember that focuses attention on the case and incorporates the principle of uncertainty in the handling of non-organized source material.
Robert Morris in the magazine Artforum makes the position
antiformale in two Antiform and Beyond Object. The two writings focus on two main Consett l ''vagueness and field inspired by: Pollock and the state expanded the minimalist aesthetic.
The dripping and allover the color done at the continuous casting of the canvas suggrisce the free and direct manipulation of materials in space environment-gravitational-in so that the final result, unpredictable and unencumbered by a fixed absolute immaagine is the same dissolves in a matter open to disperse the focus beyond the width of the visual field.
Robert Morris, for its work in 1968 built with pieces of felt ammassatia floor or a wall hanging to ricaere freely, while in 1969 gate at the consequences and the procedural approach antiformale in a series of works based on the gradual accumulation, throughout the
exhibition period, the real raw materials or waste, handled in different ways and destroyed the last day of the exhibition (Continuous Project Altered Daily, 1969)