With this presentation, we have chosen to construct a discourse around a seminal work by Donald Judd, namely 91-7 Ballantine (1991). This sculpture, composed entirely of American pine plywood, functions as the focal point of the exhibition, both in terms of its physical prominence and its conceptual significance. Its rigid, geometric configuration and material specificity establish a definitive framework for engaging with a diverse selection of artists spanning multiple movements and theoretical paradigms.

The presentation situates 91-7 Ballantine as a critical reference point, fostering interrelations with other works in terms of materiality, spatial dynamics, and intellectual inquiry. While Judd’s oeuvre is deeply embedded within the minimalist canon, its conceptual implications extend beyond the formalist concerns of the movement, intersecting with broader artistic and philosophical discourses. Figures such as James Ensor, Richard Tuttle, Louise Lawler, Shirley Jaffe, and On Kawara serve as critical interlocutors, offering contrasting yet intellectually rigorous perspectives that underscore the evolving trajectories of form, expression, and critique within modern and contemporary art.