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Donald Judd assigned Josef Albers a prime place in his search for a way past Abstract Expressionism, particularly for the German artist's use of color and of rectangular variants, which Judd explored in his final series of works. Albers overturned the traditional conception that color is either a harmoniously composed totality or symbolically allusive, and Judd likewise rejected traditional color usage in his wall pieces, stressing instead their self-reflexivity and "uncanny materiality." This most recent volume in the series Albers in Context, sponsored by Bottrop, Germany's Josef Albers Museum, examines the affiliations between Albers and Judd, presenting a selection of their works side by side. It includes a 1991 essay on Albers that Judd wrote on the occasion of an Albers exhibition in Marfa, Texas, where Judd resided from 1971 until his death in 1994.