On August 26, 2008, Michael Mullen, the chairman of the Joint Chiefs of Staff, touched down for a secret meeting on an aircraft carrier stationed in the Indian Ocean. The topic: Al Qaeda and the Taliban. The summit had been arranged the previous month. Mullen had grown anxious about the rising danger from Pakistan’s tribal areas, which Islamic militants were using as a base from which to strike American troops in Afghanistan and to plot terrorist attacks against the United States. He flew to Islamabad to see the country’s army chief of staff, Ashfaq Parvez Kayani.
Donald Judd had his share of staunch supporters. But you are likely to meet with skeptical responses if you announce that you are captivated by his magnum opus, a composition consisting of one hundred aluminum boxes that is the linchpin of the Chinati Foundation in Marfa, Texas. Chinati is where the sculptor made a permanent home for the frequently large-scale work that interested him and some of the contemporary artists whom he admired. It has an eccentric, off-the-beaten-track kind of grandeur that rubs some people the wrong way. The austere forms that Judd (who died in 1994) arranged in and