![Transcription Center logo](/themes/custom/tc_theme/assets/image/logo.png)
This transcription has been completed. Contact us with corrections.
(3) The formal logic of crystallography apart from any preconceived scientific content relates to Judd's art in an [[strikethrough]] intuitive [[/strikethrough]] abstract way. If we [[strikethrough]] abandon [[/strikethrough]] define [[strikethrough]]an[[/strikethrough]] a abstract crystal [[strikethrough]] as a solid [[/strikethrough]] as a solid bounded by symmetrically grouped surfaces, which have definite relationships to a set of imaginary lines called axes, [[strikethrough]] we [[/strikethrough]] than [[then]] we have [[strikethrough]] another [[/strikethrough]] a clue to the structure of [[strikethrough]] [[?]] "plastic glasses" [[/strikethrough]] "pink plexiglass box". Inside the box five wires are strung in a way that resembles very strongly the crystallographic idea of axes. Yet, Judd's axes don't correspond with any natural crystal. The entire box would collapse without the tension of the axes. The five axes polarize between two metal sides. The inside surfaces of the metal sides are visable [[visible]] through the transparent plexiglass. In other words every surface is within full view, which makes the inside and outside equally important. Like many of Judd's