To give a very simple example, it is like the three-year-old boy who, upon losing his favourite toy car, responds to the anxiety by becoming the car and motoring around as if he were the car. The id's object-cathexis is thus taken under control by the ego by making itself into a car, or at least those parts of the car that are libido causing, i.e. the sound, the movement, the shiny paint, the variety of interior spaces, and the translucency of the glass. This is why Smithson listed in detail the chemical contents of the paints he and Judd used in 1966. Thus, for Smithson, specific objects produced a sensation of 'an inaccessible regression [that] enforces a danger-stimulus, to which no reaction is appropriate'. Although the object-choice itself regresses to infinity (it's gone), no anxiety results because, as models of the ego, Judd's sculptures retain some of its features.