The last of Donald Judd’s numerous print projects, this minimalist woodcut, one of a series of four, (2007.82.2, 2007.82.3 and 2007.82.4) represents the culmination of the revolutionary postwar artist’s achievements in the medium. Judd’s artistic production was rooted in the notion of objecthood—a work’s physical existence rather than its ability to transfer meaning. Like his boxlike “specific objects,” a term he used to describe discrete, three-dimensional works that combined elements of architecture, sculpture, and painting, Judd’s woodcuts are also self-contained, each framed in galvanized metal—a material the artist often used—striped with oil paint.