Donald Judd


    GOOD ART MAKES THE WHOLE WORLD, and everything in it, into art. When you leave a gallery and can’t tell whether the piles of traffic cones outside are a streetwork or not, then the show inside must have been a “good” one. However, this porosity of art boundaries can be a problem, especially for the artists. They’re urged by everyday proximity to and belief in art (at least in their own art) to artify everything within their ken. Think of thousands of Blanche Duboises encircled by a galaxy of bare bulbs. So a few have decided to make the most of this involuntary tendency and work the space around

  • Objection Overruled

    THIS IS HOW artist and critic Donald Judd at first wished his work to be seen: as pure form without reference. As “object art,” not sculpture, which to him smelled of Cubism condensed. As divorced from use as a solid could be. Not even art critics were allowed to use his pieces—the pieces should use them (and they did).

    So what happened? The unavoidable: pure form wound up luring its opposite. How close can an object get to a bookcase, a table, or a desk and still deny it? Too close for comfort. No truly practical design really looks like a Judd: his work was too profligate with ambient space,


    MATERIAL, SPACE, AND COLOR are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible. The integrity of visual art is not seen. The unseen nature and integrity of art, the development of its aspects, the irreducibility of thought, can be replaced by falsifications, and by verbiage about the material, itself in reality unseen. The discussion of science is scientific; the discussion of art is superstitious. There is no history.

    There has