In 2013 as part of the October Files, MIT Press published a volume on Morris, examining his work and influence, edited by Julia Bryan-Wilson.

While living in California, Morris also came into contact with the work of La Monte Young, John Cage, and Warner Jepson with whom he and first wife Simone Forti collaborated.

The idea that art making was a record of a performance by the artist (drawn from Hans Namuth’s photos of Pollock at work) in the studio led to an interest in dance and choreography.

Morris enrolled at Hunter College in New York (his masters thesis was on the work of Brâncuși) and in 1966 published a series of influential essays "Notes on Sculpture" in Artforum.

His work became larger scale taking up the majority of the gallery space with series of modular units or piles of earth and felt.

[11] In 2002, Morris designed a set of seventeen pale blue and beige-coloured stained-glass windows for the medieval Maguelone Cathedral, near Montpelier in France.

[12] At the time of his death in late November 2018 an exhibit of Morris' recent work "Banners and Curses" was on display at the Leo Castelli Gallery in New York City.

Critic Amelia Jones argued that the body poster was a statement about hyper-masculinity and the stereotypical idea that masculinity equated to homophobia.

As one commentator, Brian Winkenweder, wrote: "In his reply [to Denson's questions], Morris compartmentalized diverse aspects of his oeuvre into nine, cleverly-named alter-egos such as Body Bob, Major Minimax, Lil Dahlink Felt, Mirror Stagette, Dirt Macher and Blind.

He also appropriated the brick-hurling Ignatz Mouse from George Herriman's comic strip Krazy Kat as rhetorical flourish to enhance his written answers to Denson's questions."

Body Bob threw the I-Box at the Major who then bent Stagette out of shape with the Corner Piece and Blind smeared cup grease on Dirt Macher's … wait a minute, Ignatz.

You started this bedlam by throwing bricks at everyone, I bet....Get Body Bob out of that Kraut helmet immediately…No, I did not give it to Lil Dahlink Felt with the Card File.

In 1994, the Solomon R. Guggenheim Museum, New York, organized Robert Morris: The Mind/Body Problem,[20] a major retrospective of the artist’s work, which traveled to the Deichtorhallen in Hamburg and the Musée National d'Art Moderne in Paris.

When a collector, the architect Philip Johnson, did not pay Morris for a work he had ostensibly purchased, the artist drew up a certificate of deauthorization that officially withdrew all aesthetic content from his piece, making it nonexistent as art.