Abstract
Este artículo propone comprender cómo el rechazo a la perfección ilusionista de la visión centralizada de la representación se manifiesta enfáticamente durante el transcurso del siglo XX y llega a sus extremos contrapuestos mayores a través de la presentación de la realidad misma para dar paso a un retorno hacia el espacio de la ilusión. La investigación se realiza a partir de una lectura entrecruzada de textos, obras y contexto inmediato a la obra de Donald Judd para puntualizar sobre el espacio expansivo como el aspecto determinante que trae como resultado la producción de una obra que se manifiesta a través de su propia presentación física como una realidad inclusiva de ilusiones.
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