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Like the line etchings on display in this gallery, this set of aquatints dates from an extended period in Judd's printmaking when he gave up the use of colour completely. In these aquatints Judd explores the difference between lines that are closed and ones that are open-ended. He subverts the apparently finite nature of the rectangular black ground by allowing some of the lines in the images to extend into the margins. Although Judd did not necessarily insist that his suites of prints should always be shown in their entirety, this particular portfolio illustrates how the whole is greater than the sum of its individual parts.

September 2004