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The works that Judd showed in the VIII Sao Paulo Bienal are most compelling. The materiality inherent in the surfaces [[strikethrough]] have [[/strikethrough]] engulf the basic structures. Both structure and surface exist simultaneously in a state of suspended motion. In one work, we see five glavatized [[galvanized]] iron verticals, sprayed blue [[strikethrough]] non-support [[/strikethrough]] supporting one glass horizontal. [[strikethrough]] from support [[/strikethrough]] As one becomes aware of the "[[strikethrough]] depth [[/strikethrough]] [[^inversion]] of the [[strikethrough]] surfaces [[/strikethrough]] structure, the supports vanish from your mind, and become "non-supports." Since the non-supports are hollow, they drain emptiness from their open square ends; this serves to make the surfaces more vivid, and almost violently hard. [[strikethrough]] As surfaces they exist as externalized "gaps", that seem to belong to another dimensionality. [[/strikethrough]] The more one trys [[tries]] to grasp this surface-structure, the more baffled one gets. It seems to have