The emphasis on idea or concept makes explicit the possibility that the work of art will not be synonymous with an object, but could consist of a proposition that might be conveyed in many different forms.
Buskirk, 2003, p. 6
Judd's presentation of his work, along with his written statements about art, made it clear that he had no interest in having such conventions an evident part of his work. However, they lie in a very practical way behind the physical object, since a number of the works by Judd in Panza's collection were purchased on the basis of plans rather than already realized objects. While some forms of conceptual art explicitly delegate the realization of the plan to the individual or institution acquiring the work, Judd wanted to retain final authority to approve or disapprove of works presented under his name. Yet it could be argued that any work made through an act of designation or the fabrication of an object on the basis of instructions raises the question of what aspects of authorship are transferred with the purchase of the work of art.
Buskirk, 2003, p. 6
[F]rom the standpoint of recent artistic practices it is the points of intersection [of material and form, ed.] that seem particularly significant. Questions raised by conceptual practices about the defintion of art are now established as part of a larger discourse that takes as given the idea that the work need not be understood as identical with a permanent physical object or configuration. At the same time, the possibility that a work's physical manifestation might be of limited duration, or that it might come and go as needed, has also helped facilitate the multitude of highly particular materials now commonly found in the context of works of art.
Buskirk, 2003, p. 136 -137
