Morris's labyrinthine spaces take a dialectical view of their potential to control the viewer. While the experience of a labyrinth is somewhat claustrophobic and disturbing, its exploratory situation grants the individual a degree of independence from the traditional relationship between viewer and reverential art object.

Once inside a labyrinth, the participant is freed from the immediate and repressive demands of the real world.
Borge said "Often the labyrinth is a symbol for happiness ... because we feel we are lost in the world, and the obvious symbol is that of losing yourself in the labyrinth... and the word labyrinth is so beautiful."

The concept of the labyrinth as a vehicle for spiritual freedom is deeply ingrained in the history of ideas. The labyrinth was seen as the setting for creative acts, a space where time and the phenomenal worldc are placed in suspension. So, the labyrinth represents the idea of a deconstruction of the institutional hierarchies of late capitalism for Morris.

Morris was searching for art which can mirror and critique the repressice space of late capitalism as well as experiences that were self-validating and recuperative.