In 1962 Donald Judd began his artistic practice in the field of painting, which he later abandoned to dedicate himself exclusively to sculpture. The same intention to break away from representation that made him abandon painting also explains Judd’s refusal of the traditional premises of sculpture. He declared his position in the 1965 essay Specific Objects, where he stated that his recent work was neither painting nor sculpture. Through a radical simplification of materials, forms and colors, Judd accentuated the physical and plastic qualities of his sculptures and installations, which did not seek to imitate or express anything beyond their own material reality.