This is not a chair. It has the proportions, the stance, the rigid clarity of one—but it is not a chair. It is a work of art. In the lineage of Donald Judd’s Frame Chair series (1988–1990), it shares a geometric rigor, a refusal of the ornamental, an insistence on structure as form. Yet, unlike those chairs, this work does not accommodate function. It lacks a shelf, does not suggest use, and is stripped of all expectation except its own presence.

Unlike Judd’s wooden furniture, this work is aluminum. Its surfaces are precise, its edges sharp—no grain to suggest the organic, no warmth to invite touch. It asserts itself with the cool neutrality of industrial production, pushing Judd’s formal concerns further from the domestic. And yet, it exists only as a 3D rendering, suspended between idea and object. If furniture is defined by function and sculpture by presence, then what happens when presence denies function entirely?