Roberta Smith wrote in Donald Judd’s 1975 catalogue raisonné that Judd was “concerned with the development of non-relational composition based on equal, repeating parts,” adding that this painting “seems to indicate in advance an approach to materials which Judd succeeds with best in three dimensions: his involvement with them is based on what they do naturally, on their inherent qualities. . . . Each area is given equal emphasis; each has its own colour and surface that indicate a different decision. . . . The areas exist equally in a series of intervals, spatially even.”1
1 Roberta Smith, “Donald Judd,” in Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood-Blocks 1960–1974, ed. Brydon Smith. Exh. cat.(Ottawa: National Gallery of Canada, 1975), 19–20.
Smith, Brydon, ed. Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood-Blocks 1960–1974. Exh. cat. Ottawa: National Gallery of Canada, 1975, 19, 20, 44 (exh. cat. no. 2), 102 (DSS cat. no. 13).
Donald Judd: Zeichnungen/Drawings 1956–1976. Exh. cat. Basel: Kunstmuseum Basel, 1976, fig. 146.
Donald Judd. Eindhoven: Stedelijk Van Abbemuseum, 1987, cat. no. 7, 86.
Haskell, Barbara. Donald Judd. Exh. cat. New York: Whitney Museum of American Art, 1989, 28 (fig. 10), 158.