The subsequent revision of our perception is therefore difficult to explain. It is based in part upon change in Ann Norton's own work, but to an at least equal extent, it is due to the viewer's newly acquired capacity to see her work in truly contemporary terms. Anthropomorphic references suddenly seem to merge with monumental sculpture that, in part because of its brick component but for more weighty reasons as well, reach the boundaries of architecture- an architecture to be sure devoid of common functions and free therefore to relapse into its sculptural, i.e. exclusively plastic symbolic meanings.