In the 1960s, Richard Serra embarked on a pivotal journey that would establish him as a significant figure in contemporary art. This period was marked by his move away from traditional painting towards the innovative use of industrial materials, fundamentally altering the landscape of sculpture and conceptual art. After completing his studies, Serra's artistic focus shifted towards the physical properties of materials and the spatial relationship between the artwork and the viewer. His time in Paris and exposure to the works of Constantin Brâncuși were formative, leading him to question and eventually move beyond the limitations of painting​ (Encyclopedia Britannica)​. The late 1960s saw Serra experimenting with unconventional materials such as rubber, neon, lead, and fiberglass. This phase was characterized by a profound interest in the process of making art, as evidenced by his famous "Splash" series, where molten lead was cast against the juncture of wall and floor, challenging traditional notions of sculpture​ (TheCollector)​​ (RTF | Rethinking The Future)​. His "Verb List" compilation from 1967-68, a list of actions such as "to roll," "to fold," and "to cut," further highlighted his shift towards process art, emphasizing the creation process over the final object​ (TheCollector)​. Serra's first significant works during this period, including "Prop" pieces and "One Ton Prop (House of Cards)," demonstrated his innovative approach to sculpture, relying on gravity and balance rather than conventional supports. These works not only challenged the viewer's perception of form and stability but also underscored the physical experience of space and materiality​ (TheCollector)​. This era laid the groundwork for Serra's later, more monumental works. His exploration of materiality, process, and space during the 1960s represented a radical departure from previous artistic practices, positioning him as a key figure in the development of Minimalism and site-specific art. Serra's work from this period is crucial for understanding his entire oeuvre, reflecting a deep engagement with the physical and conceptual possibilities of sculpture.