Between 1982 and 1986 Donald Judd filled two converted artillery sheds at the Chinati Foundation with one hundred identically sized aluminium boxes, each interior partitioned differently. Their raw mill finish — not anodised white, not matte grey — catches the raking Texas daylight and shimmers cool silver against the concrete floor.
This system takes that installation as its logic: an equal-interval grid of reflective volumes, hard shadow planes, and Swiss grotesque type. Nothing is ornamented, nothing is warmed. Precision is the entire aesthetic.