The distinction between Serra's sculpture and that of Minimalism comes in part out of Serra's rejection of the a priori geometries of the grid. For the grid is an abstract tool describing a space which always begins at a point just in front of the person who views it. The diorama of analytic sensibility, the grid, forever leaves the viewer outside looking in
(R. Krauss, "Sculpture Redrawn," Artforum, May 1972, p. 38).
