Donald Judd did not begin to produce mature, wholly distinctive works of art until shortly after his thirty-second birthday, in the summer of 1960. Or so the story is told in the artist’s 1975 catalogue raisonné. “Early Work 1955–1968,” curated by Thomas Kellein, director of the Kunsthalle Bielefeld (which co-organized the show with the Menil), gathers together paintings and drawings executed before the official oeuvre’s clock started ticking. Offering itself as a missing prequel to the Judd epic, the exhibition is accompanied by a catalogue whose cover (in Judd’s signature cadmium red) is an