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Internationally, Judd is perhaps one of the most well-known American artists of the mid-twentieth century. His carefully constructed boxes seem to have been tailor-made for the fast pace of our cultural consumption, even fifty years before Instagram has solidified our voracious appetite for the generic, yet instantly identifiable. Judd’s rigor and devotion to modesty, purity, craft, precision, and proportion is evident in and even synonymous with his artwork. Judd’s work has been collected and shown by dozens of the most reputable modern art museums all over the world. Less well-known, however, are his writings, architecture, and furniture. Five of his architectural works, from the later years of his life, are currently on view at the Center for Architecture in New York, in the exhibit entitled Obdurate Space: Architecture of Donald Judd, curated by Claude Armstrong and Donna Cohen. The exhibit is a welcome complement to the recently renovated Judd Foundation in Soho, a several minute walk away, where his art and attitudes on architecture can be seen in the flesh. The recent renovation of his cast-iron building, which he purchased in 1968, encapsulated the larger context in which Judd envisioned his work. In a 1989 essay on his 101 Spring Street building, he wrote:

Little Boxes and Big Boxes. On Donald Judd’s "Obdurate Space"