Repetition Nineteen III comprises nineteen bucketlike forms, all the same shape but none exactly alike. Nor do they have a set order, since Hesse allowed latitude in placing them: "I don't ask that the piece be moved or changed, only that it could be moved and changed. There is not one preferred format." The Minimalist artists, who emerged a little before Hesse did, had explored serial repetitions of identical units. Hesse loosened that principle: Repetition 19 is simultaneously repetitive and irregular. She also tended to work on a humbler scale than the Minimalists often had, and her forms and materials are less technocratic; she herself called the forms in Repetition 19 "anthropomorphic," and recognized sexual connotations in these "empty containers."
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 271