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Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Based on extensive material from archives in the Netherlands and Belgium, the area that is commonly known as the Low Countries, this publication shows that in the very same years that the artist established his formal and conceptual language in the US, his work met with an exponentially growing institutional and critical interest in Europe as well.
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