“You can’t exaggerate the importance of proportion. It could almost be the definition of art and architecture.” –Donald Judd In a two-part essay published in Gagosian Quarterly, architect and critic Julian Rose explores what it means for an artist to make architecture. Delving into the archives of Donald Judd, he examines three architectural projects by the artist. In the first installment of a two-part essay, he begins with an invitation in Bregenz, Austria before turning to an earlier project, in Marfa, Texas. “If an artist succeeds in making architecture, does this affirm that architecture is on a par with art, an art form in itself? If the artist fails, does this bear out architects’ deepest fears that they are engaged in some lesser form of cultural production, at worst complicit, at best merely utilitarian?” writes Rose. “Conversely, does it not seem that artists must succeed in making architecture if they are ever to realize the cherished avant-garde dream of merging art and life? After all, what does it mean for art to break free of the museum’s walls, to enter the city or the landscape—to become public, collective, transformative—if not to become somehow architectural?” Read part one of “There Is No Neutral Space: The Architecture of Donald Judd” in Gagosian Quarterly at the link in bio. #DonaldJudd #JuddFoundation #Judd #GagosianQuarterly Image: North Artillery Shed interior view, with Donald Judd’s 100 untitled works in mill aluminum, 1982–86, The Chinati Foundation, Marfa, Texas. Artwork © 2022 Judd Foundation/Artists Rights Society (ARS), New York. Photo: Douglas Tuck, courtesy the Chinati Foundation; Filippo Brunelleschi, Basilica di San Lorenzo, Florence, Italy, c. 1421–60s. Photo: © Raffaello Bencini/Bridgeman Images