New York

Donald Judd

Donald Judd’s new sculptures have an air of sterility that testifies to the fact that he has become so much the victim of his own history that he can only reflect and repeat a stagnant identity. He continues to produce perceptually catchy works, but his art no longer has the edge of significance it once did. Since he came into his own in the ’60s, he has been moving contentedly in a more or less straight line. Materials have varied, and with them textures, but the artistic principle has remained the same. His geometries seem more limited and simplistic in their logic than ever, despite obvious nuances. Does the introduction of a circular column into a half cube, in the plywood sculpture Untitled, 1991, or of vertical planes into open rectangular boxes in the Cor-Ten steel piece Untitled, 1991, constitute true esthetic and conceptual advance? If nonobjectivity was once revolutionary, in

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