抄録
This paper examines the problem of perspective in the works of Donald Judd around the mid-1960s. The experience of Minimalism has long been characterized as its inclusion of the viewer in the public mode of the subject-object relationship, through the arrangement of uninflected shapes although some critics report the inflection of its experience by means of the change in perspective. Referring to the views of Mannerism and Baroque, I argue that the experience of Judd’s works should be considered as the origination of the empty but resonating new subject that unifies the inside and the outside, as well as the private and the public.
