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the Judd Foundation’s 101 Spring Street

View of restored fifth floor, 101 Spring Street, New York, 2013. Photo: Josh White. Art: Donald Judd © Judd Foundation/VAGA, NYC; Dan Flavin © Stephen Flavin/ARS, New York; © Claes Oldenburg; © Lucas Samaras.

GUY NORDENSON

FOR MANY YEARS, my only experiences of 101 Spring Street were the glimpses of Donald Judd’s desk and Carl Andre’s 1986 brick work Manifest Destiny that I saw through the ground-floor windows of the building. I was impressed by the constancy of these two objects. Judd’s building was an oasis of tenacious lucidity in the rapidly changing context of SoHo. My first opportunity to enter the building came in 2005, when the Judd Foundation asked me, as an engineer, to think through the technical challenges involved in opening the building to the public. Ironically, given that Judd left the building for Marfa’s vast southwestern landscape, my immediate impression of the interior was of the open expanse Judd created by eliminating all interior divisions of space: The building felt much larger on the inside than seemed possible from the outside. The problem in preparing the

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