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At the turn of the latter half of the 20th century, the contemporary subject deemed, “art”, would experience a subtle piercing of the skin. With its vast array of movements and styles that have come and gone like the wind, the art world, as it was known in America, had been lingering and holding for too long onto movements of Abstract Expressionism. The 1960s would accommodate this small post-war dilemma with the significant development of an uprising movement dubbed by public and professional criticism as Minimalism. Interestingly, it was the professional criticism the new style attracted that coined and solidified the label, Minimalism. Before the 1967 introduction of, “Minimalism,” as the official and common term defining works by the igniting artists such as Frank Stella, Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, and Robert Morris, the simple style often shifted labels, entertaining the names ABC art, Rejective art, Cool art, and Primary Structures. According to one James Meyer, “Detractors of Minimal art have said that the voluminous critical writing around this work compensated for its purported lack of complexity (that is, there is much to say about an art that gives so little).”1 Initially an avan