In the 1970s, Donald Judd's art evolved significantly as he embraced larger scales, more complex constructions, and engaged more deeply with the integration of art, architecture, and environment. This decade saw Judd further solidify his contributions to Minimalism, although he himself famously resisted the label. He began experimenting with new materials and forms, notably his use of concrete and aluminum, which allowed him to explore the relationship between space, color, and form in more nuanced ways. Judd's move to Marfa, Texas, in 1971 was pivotal, providing a vast landscape that deeply influenced his work and thinking. The arid settings of Marfa complemented his minimalist aesthetic and offered a stark contrast to his New York studio. With support from the Dia Foundation, he acquired land that included remnants of a military fort, which he transformed into the Chinati Foundation in 1986. This foundation became a space not only for his large-scale installations but also for works by artists who shared his aesthetic values​ (The Art Story)​​ (Art in Context)​. During the 1970s, Judd's work expanded in complexity and scale. He began creating room-sized installations and explored the use of unpainted plywood, a material that suited his interest in the intrinsic qualities of forms. Plywood, previously a staple in his art, was used in its raw form to avoid bending or buckling at larger scales. Additionally, he started working with Cor-ten steel for outdoor pieces and engaged in projects that allowed his works to interact more directly with the natural environment and the viewer's physical space​ (Wikipedia)​. Judd's engagement with the materials and fabrication processes also evolved. He increasingly relied on professional fabricators to realize his precise designs, a practice that emphasized the conceptual over the handmade aspect of art production. This approach facilitated the creation of works that were at once rigorously geometric and infused with a sense of industrial materiality, challenging traditional distinctions between painting and sculpture​ (Wikipedia)​. Throughout the 1970s, Judd continued to articulate his theoretical positions through writings and interviews, contributing significantly to the discourse around Minimalism and contemporary art. His critical and theoretical works from this period, along with his expanding practice in Marfa, underscore his belief in the importance of the direct, unmediated experience of art and its integration with the surrounding environment​ (Art in Context)​​ (Wikipedia)​. Judd's work in the 1970s marked a period of significant experimentation and consolidation of his ideas, laying the groundwork for his later achievements and solidifying his legacy as a central figure in Minimalist art.