Professor Walter Liedtke, emeritus Curator of European Paintings at the Metropolitan Museum of Art, writes in his essay, “Seeing Florence from New York” that, “The impact of Michelangelo is seen most clearly in Wyatt’s sculpture, Novation (1988-91), where the male figure especially and the base with scroll brackets (at once powerful and elegant) pay tribute to the Medici tombs in the Sagrestia Nuova of San Lorenzo.” This composition, with direct roots in the Florentine tradition of classical sculpture in the figurization of the male and female torsos, as well as in the architectural, tomb-like geometry of the sculpture’s sub-base, additionally demonstrate’s Wyatt’s unique inventiveness that incarnates a fantastic spiritual reality in which borders of space and form become blended and interpenetrated. This “sharing of anatomy” is a sculptural interpretation of the cubist interpenetration of spatial planes: in Novation, and many of Wyatt’s works, this integration of classical and modern influences appear to combine into the invention of something entirely new.