Milow’s unique sculptures are seemingly made from solid metals and glow with rich patinas of rust, verdigris or oily black. These monumental reliefs, many of them with raised letters spelling out Milow’s personal selection of names from the 20th-century pantheon of famous artists, continue his synthesis of minimalist forms, almost painterly mottled surfaces, classical and industrial architecture references and postmodern textual/conceptual strategies. Most of the pieces, which are actually fiberglass and resin coated with an iron (or occasionally copper) wash, consist of shallow concentric tiers embossed with rings or lines of names spelled out in capital letters. The objects invoke a time when fine detailing was obligatory for every product from manhole covers to ornamental finials. The illusionist metal surfaces given to the sculptures are made of artificially oxidised metal powder and evoke the transience of even the most lasting materials. Milow’s objects are beautiful and impressive in their scale and precision; and are fitting monuments for modernism.

In Legacies, 2006, Milow `Makes Art out of Art’. The piece is time sensitive as all artist names that appear in the bottom half of the sculpture are alive at time of creation and all artists in the upper half are deceased. Keith Milow has been fascinated by the illusionary effect of artistic materials since the 1960s and he is concerned, primarily, with the object's purity of shape, the space it anchors, and the materials, textures and colours he utilizes.