Don Judd

An artist with many limitations. The works in plywood manage to retain something of his Texas grit and are very good. When they are built in luxury materials they become simply playing cards in games played by the international financial criminal class. Another problem arises when he has to somehow absorb the work of earlier artists into a minimal framework that is by its nature inherently hostile to doing this. His solution is to write about them in a long essay that invokes an historical progression over millennia to place himself at the pinnacle of this march of history. This is not good. Please read Nietzsche’s The Use and Abuse of History for the reasons for this. Because of these issues his work contains inherent fragilities and a deep weaknesses.