Sir Anthony Alfred Caro OM CBE (8 March 1924 – 23 October 2013) was an English abstract sculptor whose work is characterised by assemblages of metal using 'found' and industrial objects.

[9] In 1959 Caro was awarded a Ford Foundation scholarship to undertake a research trip to The United States of America, which radically changed his approach to sculpture.

[10] During this trip he met the critic Clement Greenberg, as well as the Colour Field painters Kenneth Noland, Helen Frankenthaler and Robert Motherwell, for the first time.

[8] In 1963 Caro moved to Bennington, Vermont, where he made a prolific body of abstract, brightly coloured sculptures, including Slow Movement (1965), which is now part of the Arts Council Collection.

[5] In 1972 he made a significant series of sculptures at Ripamonte Factory in Veduggio, which included fourteen new works in soft edge roll end steel.

[5] In 1978, Caro was commissioned to design a sculpture for architect I M Pei’s new East Wing building of the National Gallery, Washington, DC.

In 1981, when staying in New York State, the pair, alongside curator Terry Fenton and painter and wife of Caro Sheila Girling, developed the idea of running workshops for professional artists, which became the Triangle Arts Trust.

[15] In the early 2000s, his work featured nearly life-size equestrian figures built from fragments of wood and terra cotta on gymnasts' vaulting horses.

[16] In 2008, Caro opened his "Chapel of Light" installation in the Saint Jean-Baptiste Church of Bourbourg (France), and exhibited four figurative head sculptures at the National Portrait Gallery, London.

Caro was also a tutor at Saint Martin's School of Art in London, inspiring a younger generation of British abstract sculptors, led by former students and assistants including Phillip King, Tim Scott, William G. Tucker, Peter Hide, and Richard Deacon; as well as a reaction group including Bruce McLean, Barry Flanagan, Richard Long, David Hall and Gilbert & George.

He and several former students were asked to join the seminal 1966 show at the Jewish Museum in New York entitled, Primary Structures representing the British influence on the "New Art".

With Norman Foster and the engineer Chris Wise, he designed the London Millennium Footbridge spanning the Thames between St. Paul's Cathedral and the Tate Modern.