JUDD

Set in a grand Parisian residence, this exhibition stages a rare and powerful encounter between Donald Judd’s disciplined minimalist forms and the ornate beauty of a classical French interior. Judd sought to create art that stood entirely on its own—physical, self-contained objects stripped of symbolism or narrative. Often called a founding figure of Minimalism, Judd rejected the label, insisting his work was neither painting nor sculpture, but something else entirely. He coined the term “specific objects” to describe his vision: pure forms that exist in real space, with clarity and precision. In contrast to the emotion-driven gestures of Abstract Expressionism, Judd’s work is rooted in objectivity. Every material, proportion, and placement was chosen with exacting intent, even if he rarely handled the pieces himself. Artist Richard Serra, a close friend and admirer, once described Judd’s work as “executed to millimetre perfection.”

The exhibition will feature several of Judd’s iconic Single Stacks displayed together in one room. In his 1965 essay “Specific Objects”, Judd argued that the singularity and physical presence of an object in real space were essential to its artistic power. He believed that the simpler the form, the more directly it could shape and influence the space around it. His Single Stacks both contain and activate space in a focused and distinct way. Also included in this exhibition is one of the most important works in Judd’s entire ouvre. The work Untitled (1976), was formerly part of the world renowned Crex Collection. It was acquired from Annemarie Verna Galerie in the year it was made, the work comes from the first series Judd produced in Switzerland and laid the groundwork for future collaborations with fabricators such as Lehni and Menziken. Notably, it is the first ever wooden floor piece in which Judd applied colour, a concept he would continue to explore in later wooden works. Untitled (1976), along with a cobalt blue sister piece, was constructed for his second exhibition at Annemarie Verna Galerie in Zurich. Normally relying on industrial fabrication to avoid any trace of the artist’s hand, Judd made an exception here due to challenges working away from his trusted New York fabricators. He became directly involved in the process and painted the red floor plate himself, applying multiple coats of oil paint to the unprimed Douglas Fir plywood to achieve a rich, glowing surface that enhances the wood’s natural warmth. With its exceptional provenance and history, Untitled (1976) represents a rare and pivotal moment in Judd’s career, as one of the few works touched by the artist himself. This exhibition showcases a broader selection of Judd’s work across multiple series and materials. He chose materials not for symbolism, but for their physical impact – how they catch light, shape space, and engage the viewer. The exhibition reveals the full scope of Judd’s mastery, showcasing rigor, variety, and an uncompromising approach across every material

Although Donald Judd is a towering figure in American art, his presence in France has remained surprisingly limited, with only a handful of major solo exhibitions to date. This presentation not only reaffirms the enduring power of his work, it also reflects the rising global recognition of Minimalism and its lasting impact. This important and timely exhibition pairs the powerfu