Larry Bell’s colored-glass cubes embody the quiet, simplified geometric patterns of Minimalism and likewise declare the use of unconventional materials seen throughout these galleries. In addition, Bell’s choice of colored, coated glass allowed the artist to introduce an element of illusionistic play into his work, which Donald Judd, too, had been experimenting with in his own contemporaneous sculptures. Judd, in fact, very much admired Bell’s use of glass, and the New York–based artist’s solo exhibition held at the Pasadena Art Museum in 1971 was dedicated to Bell. Bell’s elegant cubes—with one side an impenetrable mirror, and the other a hazy reflection—introduced issues of illusionism and perception that were taken up far more actively by some of his fellow Southern Californians. Further, the handmade aspect of a highly finished surface was not far from Brancusi’s modus operandi, in terms of creating works that not only stand in the world but also reflect it.