The 1960s marked a transformative period in Donald Judd's career, during which he shifted from painting and the exploration of abstract forms to the creation of his iconic "specific objects," thereby laying the groundwork for the Minimalist movement. This decade is crucial for understanding Judd's rejection of traditional art forms and his pursuit of a new kind of objectivity in art, characterized by a focus on real space, materiality, and the elimination of representational content (MOMA) (Wikipedia) (The Art Story). In the early part of the 1960s, Judd began experimenting with three-dimensional work, moving away from the two-dimensional picture plane of painting toward objects that occupied and interacted with the physical space of the viewer. This transition was rooted in his dissatisfaction with the representational and illusionistic tendencies of traditional art. Judd's exploration of space and form during this time was also informed by his critical writings, notably his essay "Specific Objects" (1964), in which he articulated a vision for artworks that were neither painting nor sculpture but something entirely new. These works were to engage directly with the viewer's space and experience, rather than convey or represent an external reality (MOMA) (Wikipedia). Judd's work from the 1960s is characterized by the use of industrial materials such as metals, Plexiglas, and plywood, and by forms that were often repeated and arranged in series. These materials were chosen for their impersonal quality and their ability to be fabricated according to precise specifications, allowing Judd to remove the hand of the artist from the making of the work. This approach reflected his interest in creating art that could be understood in terms of its own material and spatial properties, without reference to external meanings or narratives. By focusing on the material presence of the work and its relationship to the space around it, Judd sought to establish a more direct and immediate experience of art (Wikipedia) (The Art Story). One of Judd's significant contributions during this period was his development of the "stacks," "boxes," and "progressions," forms that he would continue to explore throughout his career. These works were defined by their modular, geometric shapes and their systematic arrangement within a space, often in alignment with architectural features or in response to the specific dimensions of a room. The stacks, for example, consisted of identical units placed one on top of the other from floor to ceiling, creating a vertical column that directly engaged with the architectural space. This emphasis on the relationship between the artwork, the viewer, and the surrounding environment was a hallmark of Judd's practice and a key aspect of his influence on Minimalist art (MOMA) (Wikipedia). Throughout the 1960s, Judd's work gained recognition and prominence within the New York art scene and beyond. His participation in key exhibitions, such as "Primary Structures" at the Jewish Museum in 1966, and his solo shows established him as a leading figure in the emerging Minimalist movement. Judd's insistence on the autonomy of the artwork and his exploration of new forms and materials challenged traditional art practices and contributed to a broader reevaluation of the nature and purpose of art in the contemporary world (MOMA) (Wikipedia) (The Art Story).