Donald Judd's Artillery Sheds to Undergo Key Restoration

The Artillery Sheds in Marfa, Texas, will undergo restoration starting in late 2024. This project addresses structural issues and reinforces the site’s role in contemporary art. Built as military storage during World War II, the sheds have displayed Judd’s 100 untitled works in mill aluminum since the foundation opened in 1986.

The restoration will repair roofs, windows, and climate systems while reviewing the concrete flooring installed under Judd’s supervision four decades ago. The estimated cost is $2.7 million, partially funded by a $500,000 grant from the Getty Foundation’s Conserving Modern Architecture Initiative. The Chinati Foundation aims to raise the remainder through individual donors and partnerships, emphasizing its status as an international cultural landmark.

Jenny Moore, Chinati’s director since 2013, described the restoration as a balancing act between functional upgrades and Judd’s original vision. “We think of this as conservation, not renovation. Our goal is to maintain the perfection Judd sought, while ensuring the buildings can endure another 50 years,” Moore told ARTDESENT.

The sheds’ condition reflects age and the unique demands of their contents. Judd’s aluminum works depend on consistent natural light. He refused artificial lighting, modifying the sheds’ façades with 34 massive windows designed to channel Marfa’s unique sunlight. However, these windows have deteriorated, with air leaks and discoloration distorting light and material. Custom replacements are being fabricated, referencing archival specifications from Judd’s estate.

This restoration coincides with renewed interest in Judd’s contributions to site-specific art and Minimalism. Recent exhibitions, including the Museum of Modern Art’s retrospective in 2020, have revisited his belief in the inseparability of material, space, and context. Judd acquired the buildings for Chinati in 1979, envisioning a permanent installation of contemporary art that countered the transient nature of gallery exhibitions. The Artillery Sheds embody this ethos.

However, Moore noted that the restoration raises questions about intervening in spaces conceived as complete. “Judd was meticulous to the point of obsession,” she said. “Every decision about these buildings was deliberate. That’s a challenge now—how do you honor that without freezing the site in amber?” This concern echoes broader debates in the conservation of postwar architecture and site-specific installations, where original materials often fail to meet contemporary durability standards.

The Getty’s involvement reflects a growing awareness of these challenges. Antoine Wilmering, senior program officer for the Conserving Modern Architecture Initiative, emphasized the importance of collaboration among art historians, conservators, and architects. “We’re not just preserving an object; we’re preserving Judd’s argument about how art should be experienced,” Wilmering stated in a written statement to ARTDESENT. The Getty’s funding also supports research into replicating elements like Judd’s proprietary paint mixtures.

The community aspect is significant. Marfa has grappled with the dualities of Judd’s legacy: a space for artistic contemplation and a magnet for tourism and gentrification. The Chinati Foundation employs local contractors and pledges to minimize disruptions during the restoration, expected to conclude by 2026. Yet, some residents worry about private funding’s impact on the town’s identity. One long-time resident remarked, “Judd came here to escape the system, and now Marfa’s part of it.”

For others, the project highlights what spaces like Chinati can achieve. Lizzy Heacock, a Judd scholar in New York, views the restoration as a chance to revisit the artist’s core provocations. “The Artillery Sheds are not just containers for objects,” she explained during a phone interview. “They are lenses. They demand that you see the world as Judd did—full of light, geometry, and consequence.”

With scaffolding expected by September 2024, Chinati will offer virtual tours and archival programming to maintain public engagement during the restoration. For Moore, the project embodies stewardship and preservation. “Judd believed that art could shape society, not just reflect it. These sheds are part of that belief. They’re not just about the past—they’re about what comes next.”

What comes next may depend on whether Chinati’s efforts strike the balance Moore describes. For now, the Artillery Sheds stand as both a challenge and a promise, their aluminum planes catching the fading Texas light.