The legendary minimalist Donald Judd, a sculptor by trade, not a painter stated that "I think Pollock's a greater artist than anyone working at the time or since," and argue that "Pollock created the large, scale wholeness, and simplicity that have become common to almost all good work." These artists maintained that while the ethos of anguished subjectivity surrounding Pollock's person \a was dated, his way of deriving imageless form from the raw nature of non-art materials/ and from engagement with real-time forces such as gravity, offered lessons for an art that might be more uncompromising concrete in its addresss. This had especially strong implications for three dimensional work, as Morris suggested in his 1968 article "Anti-form," In keeping with broader intellectual currents of the time, attention to Pollock's work shifted from a psychological interpretation in the 1950s, to a structural reading around 1960, to an emphasis on material and process around 1970.