"Real space is not experience except in real time. The body is in motion, the eyes make endless movements at varying focal distances, fixing on innumerable static or moving images. Location and point of view are constantly shifting at the apex of time's flow. Language, memory, reflection and fantasy may or may not accompany the experience. Shift to recall of the spatial experience: objects and static views flash into the mind's space."
-Morris, Robert. The Present Tense of Space, Art in America, vol. 66, 1978, p. 70.
La sculpture minimaliste:
 l'expérience spatiale et la perception de l'objet
Ring with Light, Robert Morris, 1966
-Jones, Amelia. Performing the Body, Performing the text, p. 39.

Les idées des sculpteurs minimalistes de la décennie 1970 révolutionnent et questionnent le rapport du corps de l'observateur à l'environnement et particulièrement à l'objet de musée. Les oeuvres des artistes comme Robert Morris et Richard Neutra implique l'observateur; l'oeuvre de l'artiste est d'avoir créé une expérience spatiale plutôt qu'un "bel objet". Dans leurs oeuvres sont importantes le site, l'approche et la proportion, comme c'est inévitablement le cas pour l'architecture. Comme chez le Corbusier, la séquence perceptuelle sensorielle et kinétique subie par le corps de l'observateur est plus importante que l'objet en soi.
"While the Beautiful, for example, concerns the form of the object, and thus its limitation, the Sublime on the other hand, can be found in a formless object, so far as in it or by occasion of its boundlessness is represented in it, and yet its totality is also present to thought."
-Bois, Yves-Alain. A Picturesque Stroll around Clara-Clara, p. 370.
"In walking inside Clara-Clara, going toward the bottleneck that these two arcs form at their middle, the spectator constantly has the strange impression that one wall goes faster than the other, that the right and lift side of his body are not synchronized. Having passed through the bottleneck, which reveals to him the reason for his strange feeling - althought the slant of the walls is actually rather slight - he then sees the lateral differences reversed: tge symmetry of this effect is foreseable, but not the surprise that accompanies it."
-Bois, Yves-Alain. A Picturesque Stroll around Clara-Clara, p. 359.
Die, Tony Smith, 1962.
 -Jones, Amelia. Performing the Body, Performing the text, p. 39.