The historic space at 101 Spring Street in Soho holds a special aura, a quiet presence left behind by the legendary artist Donald Judd. Judd, who lived in the building until his passing in 1994, created a space that still resonates with his artistic spirit. Visitors can now tour the building by appointment, with the ground floor open to the public as an exhibition space on Fridays and Saturdays.
During my visit to the space, I witnessed artist Yuji Agematsu installing his latest show. Agematsu, with his distinctive appearance of shaggy hair, gray beard, and glasses, moved with a grace that seemed almost like a dance. His hands delicately arranged tiny compositions, one for each day of the month, mounted on small white shelves he designed. These compositions, totaling 366 for a full year, are a reflection of Agematsu’s daily walks, thoughts, and observations. Each piece is a composite of found objects, meticulously arranged in a cigarette box, symbolizing his daily experiences and reflections.
Agematsu’s artistic process is deeply rooted in his daily routine of taking a two-hour morning walk in New York City, jotting down notes, collecting detritus, and creating compositions from these found objects. Each object he picks up sets the tone for the next, guiding his artistic direction for the day. The resulting compositions, or “zips,” as he calls them, are a blend of painting, sculpture, and collage, capturing the essence of each day in a unique way.
Working as the general manager for the Judd Foundation for over two decades, Agematsu’s connection to the space is evident in the harmony between his zips and the environment. The attention to detail and intentionality in his work mirrors the same care and precision that Judd himself applied to his art.
As I explored the room filled with 366 objects, I was struck by the unique beauty and intricate details of each composition. From burnt red strings intertwined with tiny branches to dried orange peels and coarse hair, each zip told a story of a moment captured in time. The formal qualities of Agematsu’s work, combined with the conceptual depth of honoring each day, create a sense of reverence and discipline in the act of living.
Part two of Agematsu’s exhibition was displayed at Gavin Brown’s space in Harlem, where he continued to install his compositions for the year 2023. As an immigrant from Japan, Agematsu’s relationship to detritus stems from valuing the seemingly disposable objects that others overlook. His work reflects a deep contemplation on displacement and the significance of everyday objects in our lives.
One poignant moment in Agematsu’s compositions stood out to me: a brief interruption in September 2023 when he was hospitalized. Despite this setback, he quickly resumed his project, turning the overlooked and mundane into something extraordinary. This resilience and ability to find beauty in the ordinary is a testament to Agematsu’s artistic vision.
“Yuji Agematsu: 2023â2024” is a captivating exhibition presented by the Judd Foundation and continues at both the Judd Foundation space in Soho and Gavin Brown’s space in Harlem. The exhibition, organized in collaboration with Agematsu and designed by Scott Ponik, invites viewers to immerse themselves in a world where the everyday becomes art.
