ABSTRACT
In all paintings but Pollock's, Donald Judd saw a disturbing effect: parts form wholes, small motifs merge into the larger composition, and the eye loses track of specifics. With his drip method, Pollock prevented this blending, this blurring of the particular. Each strand and pool of pigment maintains its integrity. The canvas, too, preserves the plain truth of its size and rectangular shape. To Judd's eye, a drip painting is an array of uncompromised facts, not a field of "optical" ethereality or an opening onto an infinite. Pollock's great works had prophesied a total candor of the art object. Judd's task was to realize this prophecy.
