Ann Temkin is The Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art, New York.
Bright, beautiful, clear, and succinct.--Elizabeth Buhe "Brooklyn
The jacked-up speed of current cultural consumption had made the challenges his work presents more urgent than ever.--Kenneth Baker "Art Newspaper"
a comprehensive overview of the divisive artist's grasp on abstraction, space, interpretation and the abolition of illusion.--Helen Holmes "Observer New Review"
about as close as you can get to a truly immersive Judd encounter.--Emily Farra "Vogue"
an ode to material and spatial transformation--Lance Esplund "Wall Street Journal"
[Judd's] art, once thought to be too severe to be beautiful, can now be seen to offer pleasures, visual and conceptual, that any audience with open eyes can relate too...--Holland Cotter "New York Times"
A much needed exhalation.--Olivia Hosken "Town & Country"
Does justice not only to Judd's artworks but to his ambition and his intent.--Tom Teicholz "Forbes: Media"
Judd was committed to abstraction and democracy. His work praises human labor and industrial craftsmanship.--John Yau "Hyperallergic"
Judd's minimalism is the ubiquitous dark design energy of everyday modern life. Always there, even if you never consciously recognize it.--Jerry Saltz "New York Magazine: Vulture"
Published to accompany the first US retrospective exhibition of Donald Judd's sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.--Editors "ARTFIXdaily"
That aesthetic synergy between the work of Judd, who died in 1994, and MoMA brings a certain piquancy to the museum's current Judd retrospective, the first anywhere in more than 30 years. The museum has changed--there have been three renovations and expansions since the '70s--and perhaps so, too, has our understanding of Judd's steely, boxy objects.--Editors at ARTnews "ARTnews"
The first U.S. exhibition of [Judd's] sculptures in more than thirty years. His minimalist forms and surprising use of materials still challenge our perceptions of what indeed might be considered contemporary sculpture.--Ken Scrudato "Blackbook"
There are endless details for furniture historians and fans alike to eagerly seek out.--Madeline Luckel "Architectural Digest"
There couldn't be a better time to revisit an artist who doggedly confronted form, presence, and politics, both on the page and in 'real space.--Aria Dean "Artforum"
When Judd's works are displayed en masse and given enough space, Ms. Temkin argues, it's possible to see the visual power and the extraordinary variety of his work...--Peter Saenger "Wall Street Journal"
While there's admirable integrity in Judd's detailed specifications regarding color, material, process, and exhibition methods, there's also a supreme fussiness and self-importance that touches everything the man ever made. The work wants to argue with whatever qualms you might have about it, and you get the feeling that the work would probably win.--Alina Cohen "Artsy"
Works by Judd are almost routinely beautiful, but coldly and even imperiously so, as if their quality were none of your business.--Peter Schjeldahl "New Yorker"