Rosalind Krauss outlines the divergent nature of sculpture in the Post-World War II era in “Sculpture in the Expanded Field.” The stage was ripe for new thinking in sculpture following the constructivist attitude that allowed minimalism to take place in the 1960s. The problem in the 1970s was that sculpture was beginning to veer from the classic example of a monument. Monuments have a clear relationship to the ground in the use of a pedestal. Once this relationship was lost, sculpture lived in an undefined world of possibilities. The became modern and siteless. The element that separated sculpture from a mere object had been eliminated in a search for new meaning in the ever changing world.