Among Judd's most iconic formats are the stack sculptures — modular box units mounted vertically with equal spacing to emphasize seriality and non-hierarchy. The Menziken stacks, fabricated in the late 1980s and early 1990s, represent a refined chapter in this series. Untitled (Menziken 88-16) (1988) exemplifies Judd’s late-career focus on material purity, scale, and color relationships, combining clear anodized aluminum with colored Plexiglas to create a vibrant interplay of transparency and reflection. The six modular units maintain precise geometry and engineered perfection, inviting viewers to experience space through direct physical engagement rather than pictorial representation.

The particular red-and-black palette in this work held personal and cultural resonance for Judd, recalling his childhood in Nebraska and holding significance for the Lakota people of the Great Sioux Nation. He also referenced historical and artistic precedents such as Attic vase painting, Maya codices, and the work of contemporaries like Josef Albers and Barbara Kruger. As Judd once remarked, “In a way, side-by-side, the red and the black become one color… They almost form a new unity.”