“I think [the square] is just a starting-off point. It’s almost arbitrary, I think, for both of them. It’s a way of figuring out their broader way of thinking about things,” Flavin says. “They go from the complicated world they didn’t like, they pass through the square—or in Don’s case, something like a cube—and use that as a jumping-off point to what they would like to see in the world.”
Not that the two necessarily agreed on how the world should look. Malevich, by Judd’s admission, was much more optimistic. “He unaccountably believed that those in power would be progressive and benevolent,” wrote the artist.
The 1994 show featured Judd’s work side-by-side with two Malevich drawings. The new, 2017 version takes an expanded look at Malevich’s work with 20 drawings and two paintings by the
artist. It also features a cadmium-red floor piece by Judd that was included in the original exhibition.
And, for the first time, the show includes samples of Judd’s furniture. “It is a little hint to the diversity of Don’s work, since we can’t bring all of Marfa into Galerie Gmurzynska,” says Flavin.