Don Judd is a good sculptor. Why he should want to claim “baseless” sculpture as completely his idea is beyond me.

The base, pedestal, or whatever one wishes to call it, has had a comparatively long history throughout the ages in which men and women have been making objects to be looked at.

I’ve found little use for this device since I began exploring open form sculpture in 1958. I’ve not observed its extensive use in the works of Andre, Chamberlain, di Suvero, Doyle, Forakis, Montgomery, Sugarman, Weinrib, and others since that time, which preceded Don Judd’s images moving onto the floor.

If, as Judd says, the use of polychrome was “one of those big fake challenges which I could take for granted,” then why build a pedestal of importance around the elimination of the sculpture base?

Chuck Ginnever

Putney, Vermont


Donald Judd’s response to John Coplan’s assertion that Judd, like

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