In 1961 Donald Judd began a series of twenty-six woodcuts that deliberately focused on a single form, the parallelogram. The complete series consists of thirteen woodcuts, each with its mirror image, although the individual prints stand alone and follow no special order. Roy C. Judd, the artist’s father, cut and printed the woodblocks for the series according to his son’s design, using a quarter-inch router to create the distinct vertical lines and borders that follow the shape of each parallelogram. Judd’s signature cadmium red emphasizes the design’s structure and unifies the surface. The artist made use of this colour extensively in his work of the 1960s, as he found it absorbs light, especially when applied to three-dimensional form. A brilliant colour, with permanence and strong tinting power, cadmium red also brings to mind industrial applications such as standard signal lamps for railway, marine, or farm machinery. Even though he began his career as a writer, art critic, and painter, Judd has come to be known primarily as a sculptor. Shortly after he began working on this series, the artist abandoned painting and started creating wall reliefs as well as simple free-standing constructions, for which he coined the term “specific objects.” With his sculptural oeuvre, examples of which are displayed in gallery B104, Judd established himself as one of the foremost minimalists.