For certain young American sculptors, however, work such as Caro’s seemed to embody limiting “European” aesthetic precepts. While accepting that the use of industrial materials and constructive principles provided the technical paradigm for advanced sculpture, Donald Judd and Robert Morris took their lead from painters such as Frank Stella and Ad Reinhardt in producing what they described as “nonrelational” sculptural objects. Rather than relying on the internal balancing of shapes or parts, as in the works of Caro (or classic European abstraction more generally), such works were based on principles of self-evident geometrical order or repetition. In many ways Stella ...(100 of 73439 words)