Exhibited outdoors in Toronto in 1967 and at Dan Flavin’s retrospective in New York in 1970, the enamel surface of this work sustained damage; subsequently, Donald Judd used this object to test methods of repair, which resulted in the varied surfaces of the individual units. “Four units in a row are only that,” Judd wrote in 1993. “They are not part of infinity, either endless or above or within. They are a small, finite order that I am interested in.”1
1 Donald Judd, “Some Aspects of Color in General and Red and Black in Particular” (1993), in Donald Judd Writings, ed. Flavin Judd and Caitlin Murray (New York: Judd Foundation and David Zwirner Books, 2016), 853.
Lord, Barry. “Sculpture in the Summer.” Artscanada, October 1967, 6 (ill.).
Kingsley, April. “New York Letter.” Art International, January 1973, 65.
Smith, Brydon, ed. Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood-Blocks 1960–1974. Exh. cat. Ottawa: National Gallery of Canada, 1975, 143 (DSS cat. no. 88).
Raskin, David. Donald Judd. New Haven, CT: Yale University Press, 2010, 32 (fig. 33), 33.