by way of fine art galleries, but are regarded as crude, childish or clumsy by some of the regular outlets for hand-made objects.” In 1974, with a scholarship from the British Council Lord travelled throughout Mexico looking at pre-Columbian art and architecture, attached to the Museo Nacional de Antropologia in Mexico City. In 1975 he returned to Rotterdam, where he received a three-year stipend from the Rotterdam Art Foundation. Whilst living there he travelled extensively in Europe and made frequent visits to Paris where he looked at paintings made there at the end of the nineteenth and beginning of the twentieth centuries and discovered the ceramics of Paul Gauguin. Henry Geldzahler explained Lord's vision as, "precipitated by a sudden confrontation with the history of painting and sculpture and modern art in particular." Of this time, Lord said, “I tried to understand how Picasso, Cezanne and Monet had looked at objects and how they had observed light and shade. In my studio in Rotterdam I painted the objects I was making as if through other artists eyes. When a particular kind of light fell across a plate or vase I recorded it with brushstrokes I’d seen in paintings.” His first solo exhibition, "Pottery," was held at Anthony Stokes Gallery, London in 1978, installed on Barry Flanagan's Rowford Process furniture. Of the show, British art critic William Packer wrote, “Lord’s work is fraught with ambiguity; when does an object become still life and taking it a further step, when does still-life, that staple of painting, become sculpture?" In 1978 he exhibited at the Stedelijk Museum and began working with the leading Dutch art gallery, Art & Project making his second solo exhibition "Angled Pottery" with the gallery in 1980. In 1981, Kasper Koenig included him in the exhibition, "Heute-Westkunst," at Museen der Stadt Koln, Rheinhalle in Cologne after which he left Amsterdam for New York. Lord's work was introduced to New York in 1981 by Irving Blum and Joseph Helman, at the Blum Helman Gallery. In the New York Times John Russell called his US debut, “The most original show of the month, and the most difficult to categorize ... before long we realise that they may not really be sculptures at all, but paintings that happen to be performed as much as painted, in three dimensions. His pieces are sculpture in that we can walk all around them, but fundamentally they