To the Editor:

Philip Leider is dead wrong in his understanding of Donald Judd's concept of “singleness” [“Perfect Unlikeness,” February 2000]. Judd's aesthetic of singleness did not derive from Malevich, as Leider claims, nor did it, as Leider believes, “seek work that isolated. . . a single element, such as color, or texture, or the qualities of a new material.”

Judd's debt to Malevich in forming his idea of singleness can be quickly dismissed, as Judd himself did in “On Russian art and its relation to my work” (Art Journal 41: 249–250). While this essay is filled with poignant statements that flat-out reject the artistic values of Malevich (and Mondrian), those most relevant for the issue here read, “I soon became biased against small units, as in most of Malevich's paintings . . . a bias caused by the distant activity of Pollock, Newman and Rothko. . . . Also, the small

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