On an elevated plinth of west Texas prairie grass land, in a visually isolated corner of the Chinati Foundation grounds, sit two unfinished examples of Donald Judd’s final experiment in uniting art, architecture and nature. These imaginative and enigmatic concrete building shells have the same spare material expression, rigid proportioning system and the unnerving structural thinness that one would expect from Judd’s three-dimensional work. These buildings are part of a larger geometrically ordered complex of ten buildings designed specifically to house twelve works of art, unsurprisingly, also created by Donald Judd.