Room 3: Exploring space: 1961-1963 Installation shot at Tate (from left to right) Sculpture Seven (1961), Month of May (1963), Early One Morning (1962) Enlarge image
	Sculpture Seven 1961 Private Collection © The artist, Barford Sculptures Ltd.
	Early One Morning 1962 Tate. Presented by the Contemporary Art Society 1965 © The artist, Barford Sculptures Ltd.

Caro now began to paint his sculpture in bright colours - a further break with the dark brown patinated surfaces of much earlier sculpture. Sculpture Seven 1961 shows the development of a mature vision. Such sculpture offers an ever-changing flow of inflections as the viewer walks around it. The work appears charged with a sense of inner dynamism - of immanent life - conveyed through seeing its structure constantly changing.

During the 1960s the main line of Caro's development is his exploration of space.

Thinking in spatial terms was liberating, enabling the new sculpture to proceed, unfettered by distracting references. In Early One Morning 1962 sculpture as solid object has been consigned to history. Apparently weightless and without mass, the work defines and articulates space with extreme economy. Its light, dancing quality was something very new, a break with the tradition of monumental figurative sculpture.

"[Early One Morning] is like a song, moving along in time. In this sculpture the parts are separated, so as to open out and extend the sculpture. Although for this piece, a work by Alexander Calder was my initial suggestion, my source was invariably painting rather than sculpture."

Anthony Caro in Anthony Caro and 20th Century Sculpture, Giovanni Carandente, 1999, page 87.