After studying sculpture at Royal Academy School in London,Caro worked as assistant to Henry Moore, a British sculptor, from 1951 to 1953. New trends of the 20th century ideas reached Caro through various art books,and led him to move away from the academic techniques he had been familiar with during his studies. However, the influence of Henry Moore, who worked for over 40 years in a bucolic suburb of London ,is readily seen in Caro's works he produced in 1950s -the majority of which are heavy body sculpture made from bronze and lead. Caro's work changed dramatically in 1959 when he met Clement Greenberg, a distinguished critic of modernism. After meeting Greenberg, Caro visited various areas in the U.S, including New York ,Washington, and San Francisco, where he was able to witness first-hand some of the latest trends in Aamerican art. His encounter with the works of David Smith, Kenneth Noland, Jackson Pollock and others led him to open a new chapter of modernism sculpture.
Returning from his trip to the U.S, Caro exhibited large abstract sculptures, brightly painted and standing directly on the ground. By installing industrial materials such as steel beams, wire screen, and steel plates, he depicted dynamic movements, in the form of space drawing ,moving away from his previous figurative sculpture. This was a radical departure from the way sculpture had hitherto been seen and paved the way for future developments in the real space.
In the 1970s. Caro used unpainted and rusted steel instead of brighty painted steel pieces. Heavier steel pieces irregularly cut into various shapes were bent and welded. This shows Caro's attempt to be more faithful to the inherent nature of the material, by displaying steel works unpainted and in their natural state.
In the 1980s. Caro became interested in classical antiquity , and this was soon reflected in his sculpture. His works also expanded to include "sculptitecture", a type of sculpture with an architectural dimension where the spectator is invited to enter the work and experience its inner space. Caro developed an interest in the realtionship between sculpture and architecture during his first visit to Greece in 1985, where he saw classic architecture such as the Acropolis in Athens and the Temple of Zeus. He tried to combine classic art with modern technique. In 1992, Caro exhibited 39 pieces from 1960 to 1991 in the ancient Trajan's Market,Rome. The retrospective exhibition served a dual purpose ,representing yet another blurring of the lines between sculpture and architecture ,as well as providing a forum where past and present are both exquisitely communicated.
Caro's interest in the ancient persists in his later works. The Trojan War (1933-1994) is definitively rooted in the abstract style, but reminds the audience of the Greek gods in the Trojan War, leading the audience back to the world of the ancients. This is one notable example among Caro's constant experiments in interweaving past, present and future.