New York

Donald Judd

Leo Castelli Gallery, Max Protetch Gallery

One speaks of an “emerging” artist; can one speak of a “reemerging” one? Donald Judd is running very scared to be reborn, blasting other artists and critics in recent essays (Art in America, September and October 1984) that may signal the demise of the artist’s text as a useful statement of intention. (Judd’s aim is to deny anyone else’s right to an independent view). What did he give us in these shows? The same old “specific objects” refurbished in fresh materials-concrete, in the most monumentally ambitious ones-and in some instances rehabilitated as furniture and architecture (without quotation marks). The latter works join what by now has become a tired trend, if also reviving the De Stijl ideal of a universal style. (The Erector Set furniture, made by screwing together De Stijl-like colored metal forms, confirms the revival, even if it belongs in Conran’s.) Pity, to be always a little

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