“The primacy of symmetry in art and architecture is not very definitive or restrictive because there are so many kinds, some very close to asymmetry, such as some of the numerical progressions that I use. Absolute symmetry is marvelous and it’s also marvelous when symmetry itself allows variation, when the logic of the situation causes or allows an approach to symmetry.”¹

The extrusion profile was designed by Judd as a logical division of symmetrical space. The complex form simultaneously open and closed, with each work in the dimensions of 15 x 105 x 15 centimeters. The colors of the works, ranging from black to turquoise to clear, were executed through the anodizing of the aluminum, an industrial process by which the color becomes part of the material.

The exhibition will be accompanied by a series of talks, free and open to the public, on the ground floor of 101 Spring Street that will explore Judd’s work. The series will include a lecture by Alex Kitnick on Judd’s paintings and print editions, Randy Kennedy in conversation with Larry Bell and Yasmil Raymond on process, and Jarrett Earnest in conversation with Anna Betbeze and Simone Kearney on color.

Curated by Flavin Judd, Curator and Co-President, Judd Foundation.

Lead support for 15 x 105 x 15 is provided by Tomas Maier. Additional support provided by Anton and Jennifer Segerstrom, and the Consulate General of Switzerland in New York.

^{1 Donald Judd, “Symmetry,” 1985, Donald Judd Writings, eds. Flavin Judd and Caitlin Murray, (New York: Judd Foundation and David Zwirner Books, 2016), 419}