Donald Judd was associated with minimalism creating sculptures which explored space and the use of space around his constructions. Although Judd didn’t want his the work to be seen as sculptures, but as small fabricators using industrial processes. All of his objects were individual, creating a unique materiality through the use of his colour pallet, finishing the work with bright enamel paint.
Judd’s work was factory aesthetics, a great example of this would be his Untitled work made in 1966 which was similar to his wall-based work which consist of 10 rectangular forms with all the same dimensions. Each unit is identical, with identical intervals between each unit, and each interval the same dimensions as each unit. These free-standing objects were placed on the floor and had no plinth so the viewer would confront it from there own level, taking it away from being art, the plinth glorifies a work, acting like a podium.
Judd was looking for independence and clarity in the constructed object, and the space which surrounded it, creating work with no compositional hierarchy. He made it as approachable as possible, wanting the viewer to be exist at the same level of the work. Multiplying was another way of enforcing the materiality in the work, documenting how it was composed of fabricated parts. The work did not exist away from its intended structures, only existing at the time within the space.