"When I first got involved with the felt pieces I was interested in that whole range of information; how information functioned in something. In a constructed work like a box that you make, a chair, or something, there's a form that's very prior to the construction of the thing. The ends and means are completely separate. You can see and you can depict it is what you're doing. It's not too different really than painting in some way. You're depicting a form that you have in your mind or that you've drawn. And I wanted to get away from that. And I started moving toward it in using felt where I could preconceive, say, methods of cutting the felt that might be according to geometric progressions, or they might be very simple geometric kind of slits or one thing or another. And after I'd worked with it for a while I found that there was in some cases the information if you cut a piece of felt like halfway up the middle and tack it on the wall then that kind of patterning, that information is pretty clearly revealed. If you cut it up into many like hundreds of pieces and you do that according to a very strict geometric pattern and then you drop it on the floor, you've lost the information completely. So I was interested in that whole range of information, like how it dissipates, when it's revealed, when it isn't revealed. The first felt piece I did I hired children to cut up pieces of felt for me. So there's even less information in that" (Robert Morris as quoted in "Interview," Tate Etc. Issue, Autumn 2008).