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To many young sculptors it seemed that Caro had liberated their art from the weight of past association, and many took his pronouncement that “sculpture can be anything” rather too literally. But Caro himself never truly believed his own dictum; he clung tenaciously to a belief in the language of three-dimensional form — often comparing the process of sculpture to musical composition. All his sculptures depend on an intuitive sense of balance and placement, and on the harmonious relationship between one part and another.

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