Sarah Lowndes

Robert Morris’s mandate for the development of sculpture ‘Notes on Sculpture: Part I and II’ (1966)8 and Michael Fried’s famous counter-attack ‘Art & Objecthood’ (1967), are so well-known

except to make the point that the qualities that Fried identified as so problematic in the work of Morris and Judd (site-
specificity, temporality, ‘theatricality’) are precisely those that have shaped what might be called the performative

Literalist sensibility is theatrical because, to