While Donald Judd spent most of his later years in Marfa, Texas, 101 Spring Street, a classic cast iron building in New York’s SoHo, was his home and studio for decades. Recently reopened to the public, the space has been has been largely left untouched—preserved like the functional installation Judd intended it to be.
The ground floor is the only exception to this rule. Conceived by the late artist as a pseudo-exhibition space, the street-level venue now operates as a platform for rotating art and design installations culled from Judd’s extensive archives. This weekend, the space saw the opening of its second iteration—a collection of rarely seen woodcut prints accompanied by his stark metal furniture. The installation is the brainchild of Judd’s son, Flavin Judd, who dotted the room with selections from the artist’s library in order to give context to the minimalistic offerings. The light reading includes the illustrations of Albert Dürer and Noam Chomsky’s linguistic critiques. Open to the public on Thursday, Friday, and Saturday afternoons, the installation affords visitors the chance to experience Judd’s work in a setting all its own.