Caro arrived at his abstract compositions through improvisation - literally pushing steel parts around - rather than by realising a pre-planned concept from a sketch or maquette. His works rarely have a single focal point. Instead, there are usually multiple centres of interest, and these take on different values according to the angle from which the sculpture is viewed; to fully comprehend the work’s configurations, one must move around it. When taking in the sculpture’s whole, one traces the relations between each of its parts. This emphasis on the relationship between forms gives the work a cumulative drama, an almost narrative quality within which no single element is more significant or expressive than another.