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 1 1950s 
2 1960-61
3 1961-63
4 1965-675 1966-69
6 1969-70
7 1971-77
8 1973-979 1986-91
10 1995-99
11 1987-90
12 2004
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Room 4: Lines and planes: 1965-1967  Room 4: Lines and planes: 1965-1967 Installation shot at Tate (from left to right) The Window (1966-7), Eyelit (1965)  Enlarge
image Linearity is a defining characteristic of Caro's sculpture from the mid-1960s. He seems to ask how much flesh could be removed while still making a sculpture. Eyelit 1965 takes this to an extreme: a line drawn in steel through the air and along the ground. Sculpture stripped to essentials. Eyelit approaches the limits of immateriality, though a return to solid form was out of the question. From 1966 a new element - the mesh panel - enters Caro's vocabulary. In The Window it is used much as a glass wall contains or defines an area. Viewers are invited to enter the enclosed central space - but with their eyes only.  Eyelit 1965 Collection of William S Ehrlich © The artist, Barford Sculptures Ltd. In 1966 Caro also began to make smaller table-based
sculpture (see Room 5), dropping elements
of the composition below the raised level. This was subsequently
taken up in larger works. Prairie 1967 embodies everything
previously denied to sculpture: it is open, expansive, weightless
and transparent.
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