Donald Judd lent this work for four of his museum exhibitions before permanently installing it at the Architecture Studio. In a 1971 interview, regarding his departure from painting, Judd said he, “tried to get rid of spatial illusionism, but I couldn’t get rid of it. So even in a painting like the red one with the gray stripes . . . which is just all surface, there is still a spatial play around the lines. . . . and one also had the problem that there were at least two things in the painting: the rectangle itself and the thing (image) in the rectangle. . . . You couldn’t get around that.”1 A close look at this painting reveals that it contains three separate compositions: a blue and gray painting on an underlying canvas, a central rounded shape on the top canvas beneath the surface, and the final work.
1 “Don Judd: An Interview with John Coplans,” in John Coplans, Don Judd, exh. cat. (Pasadena, CA: Pasadena Art Museum, 1971), 21.
Coplans, John. Don Judd. Exh. cat. Pasadena, CA: Pasadena Art Museum, 1971, 20 (plate 7), 21. Reprinted: Coplans, John. “An Interview with Don Judd.” Artforum, Summer 1971, 40 (fig. 1), 41.
Lipman, Jean, ed. The Collector in America. New York: Viking Press, 1971, 258–59 (ill.).
Agee, William C. “Unit, Series, Site: A Judd Lexicon.” Art in America, May/June 1975, 40, 41.
Smith, Brydon, ed. Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood-Blocks 1960–1974. Exh. cat. Ottawa: National Gallery of Canada, 1975, 20, 49 (exh. cat. 7), 108 (DSS cat. no. 27).
Decter, Joshua. “Donald Judd: Motionlessness as a State of Grace.” Flash Art, January/February 1989, 113 (ill.).
Kellein, Thomas. Donald Judd. Early Work 1955–1968. Exh. cat. New York: D.A.P., 2002, 84 (ill.), 154.
Serota, Nicholas, ed. Donald Judd. Exh. cat. London: Tate Publishing, 2004, 140 (ill.).
Judd, Donald. Donald Judd Writings. Ed. Flavin Judd and Caitlin Murray. New York: Judd Foundation and David Zwirner Books, 2016, 936 (image 89).