'Judd’s choice of the parallelogram is closely connected to his investigation into objects, which was born of his desire to give things a form without resorting to illusion. Initially, the objects were intended as transformations of his paintings, those specific objects in which real space is admitted, in which the light sought out and defined the shapes...None of the prints belongs in a certain place in a special order, each one stands for itself. The artist has chosen one form. This one is the one he wants to see, with the fascination of the still-life painter who, again and again, can wonder at the sheer delicacy of a hanging lemon-peel, at the subtle distinction between yellow and white.' (M.J. Jitta, On Series, in Donald Judd, Prints and Works in Editions: A Catalogue Raisonné, pp. 26-27.)