Robert Adams has been called 'the neglected genius of post-war British sculpture' by critics. Adam's affiliation with his fellow English sculptors of this period, such as Henry Moore and Barbara Hepworth, extended only as far as an initial desire to carve in stone and wood. Unlike his contemporaries, however, he did not appear to show much interest in the exploration of the human form or its relationship to the landscape. Instead, he completely embraced undiluted abstraction, becoming one of the first to do so in the British Isles, before the emergence of Anthony Caro. 

He experience his most prolific and acclaimed years of sculpting between 1950 and 1980, when he became one of the foremost sculptors of the British avant-garde in the post-war period. Arguably the most significant moment in Adams' career were his two exhibitions at the Venice Biennale in 1952 and 1962. The first Biennale cemented Adams' name in the so-called 'Geometry of Fear' movement alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadow, Eduardo Poalozzi and William Turnbull.

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