Barbara Purcell at Salmagundi:
“A work needs only to be interesting,” Judd continued. And Judd’s work is interesting, even more so in Marfa than, say, MoMA, where a metal box installed in a white cube gallery contained on a city block amidst a vast grid plan makes for a rectilinear set of Russian dolls. The lunar landscape of Far West Texas—the heat and harsh sun and stark outline of emptiness—instead gives these manufactured squares an exotic leg up. At times, Judd’s objects can appear aloof, indifferent. Untitled works give way to a sense of … untitlement. But the desert itself is a poetic reflection of Judd’s aesthetic convictions, where the dominance of negative space enunciates each specific form. This enunciation culminates with the artist’s 100 untitled works in mill aluminum, 1982-1986, contained in two massive side-by-side artillery sheds at Chinati, a mile from the Block. One hundred pristine boxes—a fingerprint will permanently set in as little as 72 hours—line up on the floor like an army drill. Outwardly identical in size, each one embodies its own internal variations: a tilted top, a hollow center, solid as a rock. No two are the same.
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