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Alternate Diagonals of March 2, 1964 (to Don Judd) daylight fluorescent light 12 feet long Executed in 1964. This work is number one from an edition of three and is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Leo Castelli Gallery, New York Acquired from the above in 1971 Onnasch Collection, Berlin Zwirner & Wirth, New York LITERATURE U. Kulterman, New Formen der Plastik, T쳌bingen 1967, p. 198 (illustrated) and p. 325. Westkunst, Cologne 1981, p. 276 (illustrated). J. Meyer, Minimalism, London 2000, pp. 90-91 (daylight and cool white illustrated). EXHIBITION New York, Kaymar Gallery, Dan Flavin, Some Light, March 1964. New York, Green Gallery, fluorescent light, 1964. New York, John Daniels Gallery, 1964-1965 (red and yellow version). Ottawa, The National Gallery of Canada; Vancouver Art Gallery; and New York, Jewish Museum, Fluorescent Light Etc. From Dan Flavin, September 1969-March 1970, cat. no. 2 (illustrated in color). Zurich, Halle F쳌r Internationale Neue Kunst, INK, 1980, p. 44, no. 6. Berlin, Messehallen, Die n쳌tzlichen K쳌nst, 1981. Krefeld, Museum Haus Lange, 30 Jahre durch die Kunst, September-December 1985, p. 40, pl. 2 (illustrated). Berlin, Galerie Onnasch, 1985. Abteiger, St„dtische Museum, Dan Flavin, September-October 1990 (illustrated in color). New York, Zwirner & Wirth, Dan Flavin: Works from the 1960s, September-November 2000 (illustrated in color on the announcement card). NOTES "It makes an intelligible idea of the whole wall." Referring to Dan Flavin's white tubes of neon, fellow minimalist Donald Judd's statement came as a response to a single diagonal neon light on a bare wall which hung at an exhibition of Flavin's in 1964. Executed the same year, Alternate Diagonals of March 2, 1964 (to Don Judd) returns Judd's compliment and pays tribute to Flavin's contemporary. Clearly the works of these two artists have much in common; the use of standardized materials and geometry, the focus on light as a material and space within an environment, as well as the practice of serial thinking. The simplicity and elegance the aura of the white light casts, emphasizes both the form and the context in which the viewer experiences Alternative Diagonals of March 2, 1964 (to Don Judd). The work is one of the earliest fluorescent works by Flavin and one of the earliest multiple tube sculptures following Diagonal of May 25 (for Constantin Brancusi), 1963. Edition number two of three of this same series is in the collection of the Art Gallery of Ontario, Canada. Editions of the daylight and cool white versions are in the collections of the Dallas Museum of Art and the Chinati Foundation in Marfa, Texas. One version of the red and yellow version may be found at the Museum of Contemporary Art, Chicago.