In its refusal of the idea of an artistic production based on linearity, the work of Robert Morris in the years 1960s-1970s cannot be designated as minimalist art, process art or site-specific, although his writings and pieces were essential for critics and art historians to define and/or to create the definitions themselves. The mobility which the artist adopts - both in his performance pieces and his process pieces - leads viewers into a sensible space/time experience turning them into participants/visitors. Although the works of Robert Morris point to the concerns of its historical background, they also foresee an aesthetic research that has continued to this day. By offering a series of exploration initiatives, they compel a reflection about the options of sculpture and about its perception. They are works that entail time, space, and the body as conditions of an aesthetic experience.