When a
surface is waved, it creates a different kind
of geometry: You have to start thinking about it topologically, as opposed to using rectangles, which are
flat.»
Judd identified actual space as «inherently more powerful and specific than paint on a
flat surface,» a sentiment characteristic
of Minimalist faith in the productive reality
of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified
geometry of a Judd or an early Robert Morris with the cast - off traces
of African - American urban life.