Riley Robinson’s Untitled (Judd) transforms Donald Judd’s minimalist language into a playful yet critical dialogue with functionality and material culture. Appropriating Judd’s iconic Untitled (Stacks) sculptures, Robinson substitutes the pristine, industrially produced fabricated boxes with red Milwaukee toolboxes, stacking them in the same vertical column, which defines space with negative and positive space with equal volumes. Robinson studied under Dr. Colpitt and references her critical examination of minimalism, interrogating the tension between high art and its commodification. The familiar, craftsman toolboxes reroute Robinson’s ode to the original idea and connect it to his Texan roots and the often-overlooked connection between art and labor.