Viewing page 34 of 71

This transcription has been completed. Contact us with corrections.

4

[[strikethrough]]of cubes,[[/strikethrough]] six thermal [[strikethrough]] rectangular [[/strikethrough]]boxes, neither one of them is any more important than the other, consequently there is no order, [[strikethrough]]and[[/strikethrough]] people [[strikethrough]]would [[/strikethrough]]always [[strikethrough]] say, oh, that's silly, that's sucha a [[/strikethrough]]called his wk rational,[[strikethrough]]idea.[[/strikethrough]]

But it wasn't a rational idea, it was irrational [[strikethrough]] just an [[/strikethrough]] and infinitely extensive too. [[strikethrough]] idea in one way. So that the [[/strikethrough]]

His conception of the kind of order which was really disorder because no one part was harmonized with another part was very important for a lot of anti-form. In fact, in Bob Morris' last article, "Beyond Sculpture" objects? there are a lot of sections that seem to come right out of Judd's writings from five years ago, two applied very differently. And Judd too of course had a very definite thing about materials, which Andre did in a different way, which Morris did in a diff way, tho less so than he does now.

UM: Judd, endeavored for some sort of perfection which was necessary to the idea that he tried to convey, he more than any one else.

LL: I don't know if perfection really is the word. I suppose any artist tries for perfection... I don't think it was purity so much as clarity.

UM: I always understood minimalism, the idea, or if you wish i-de-a. the Greek notion of it, as really the purity of geometric form. I think what really deteriorated minimalism,