YeZhang
Untitled 1990
© Estate of Donald Judd /VAGA, New York/DACS, London 2022
Three dimensionality is not as near being sim ply a container as painting and sculpture have seemed to be, but it tends to that. But now painting and sculpture are less neutral, less containers more defined not undeniable and unavoidable.（p181）
A three-dimensional figure, which is a shape, has edges, and the boundary of this shape is the end of the picture, because of the simplicity of the rectangle, the boundary of the rectangle determines and limits whatever appears on top of this shape. A rectangle has no meaning, is a part that does not belong to any definition, whereas a painting or a sculpture are all meaningful. A painting does not have simplicity or singularity, there is an infinity of possibilities.
Most sculpture is like the painting which preceded Pollock Rothko, Still and Newman. The newest thing about it is its broad scale. Its mate rials are somewhat more emphasized than before. （p183）
The color is also both neutral and sensitive and, un like oil colors, has a wide range. Most color that is integral, other than in painting, has been used in three-dimensional work. Color is never unimportant, as it usually is in sculpture.(p183)
The colour is very important for 3D works，three dimensions are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors -which is riddance of one of the salient and most objectionable relics of European art. The several limits of painting are no longer present. A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface. Obviously, anything in three dimensions can be any shape, regular or irregular, and can have any relation to the wall, floor, ceiling, room, rooms or exterior or none at all. Any material can be used, as is or painted.（p184）