He was arguably the most significant practitioner of what is now known as
. Minimalism came to the art world’s attention in New York in the early 1960s, through solo exhibitions of
, and Judd, as well as the Jewish Museum’s exhibition “Primary Structures.” Alongside Andre, Flavin, and Morris, Judd’s heavily reduced forms took one of the major narratives of the 20th century—the reduction of forms from figuration to abstraction—and pushed it to its geometric extreme in sculpture. The history of modernist painting had already witnessed, in the early 20th century, the rise of highly simplified geometric styles, such as those of
; later in the century, the monochromatic works of
appeared, but no one had as yet created such reduced forms in sculpture as Judd, who became best known for his so-called “stack” works. These consisted of uniform, repeated (serial) units that rejected hierarchical composition, activated negative space, and seemed to combine painting, sculpture, and architecture.