This thesis concerns the artworks of Donald Judd, particularly those created between 1979-1994 and installed at Fort D. A. Russell in Marfa, Texas and conserved by the Chinati Foundation. A brief examination of Judd's early sculpture and experimentation with serial imagery, as they relate to the Marfa works, is provided as are some of Judd's writings which assisted the development of permanent installation sites. A discussion of Judd's move from a traditional gallery/museum environment to an outdoor site in Texas during the 1970's is provided as well as a history of the Dia Art Foundation which developed partially in response to artists' needs. Two series in particular installed at Fort Russell--one hundred milled aluminum boxes and fifteen concrete groups--are given thorough examination. The ensuing litigation between Judd and the Dia, the creation of the Chinati Foundation, and later permanent and temporary installations in Marfa are also considered.