JULY 25, 1969
DOUGLAS HUEBLER: Just in terms of where I started from—I started rather conventionally, as a drawer, painter, and so forth. The reason I go into that is because the painting, at a certain point, like six or seven or eight years ago, moved toward what became known as hard-edge or reductive painting. And when I reached that point with my own painting, I think it was about seven years ago, I painted the stripes around the edge of the canvas, about three or four colored stripes, just to restate the edge, which is something that, you know, you've seen since that time. At that point, rather than make a style or an issue out of that aspect of reductiveness, it occurred to me that the painting had become in itself an object. And, again, a lot of this is quite familiar in the sense of recent art—I mean, quite familiar. I'm not saying that I invented or discovered these things, but they were discoveries to me at that time. And I'm just sort of recapitulating. The next sense that that object seemed to make for me was to jump right off the wall. In other words, objects that are reduced to that level become as valid three-dimensionally as they are two-dimensionally. And so I became involved with the whole form that got to be very reductive sculpture, and I made forms that were called, had been called, are called Minimal or Primary Structures, and so forth and so forth, that whole genre.