Beginning as a critic and painter, Donald Judd moved into three dimensions in the early 1960s, with box-like structures arranged on the gallery floor or mounted on the wall. Initially constructed by hand, his sculptures were later industrially manufactured in such materials as galvanised iron, steel, Plexiglas and plywood. His use of brightly hued lacquers, vibrant colours and polished metals ran counter to the public's understanding of what 'minimalist' sculpture should look like. The authors explore the conflicts between previous critical interpretations of Judd and his own philosophical, political and moral understanding of his work. They also examine the importance of colour and new man-made materials in Judd's work. The inclusion of a section on Judd's own permanent installations at the remote town of Marfa, Texas, a full chronology and a major essay by the artist on his own use of colour, completes a comprehensive survey of this compelling artist.