Judd, a minimalist sculptor who hated both of those terms and preferred to think of himself as simply a maker of objects, was at the time forming his own ideas on how to create permanent work in a specific place, blurring the lines between art and architecture. Inspired by the Byzantine mosaics of Ravenna, Italy, Novros, who’s as much a draftsman as he is a painter (his sketches and plans for paintings look more like blueprints than like conventional drawings), spent two days at Judd’s house painting the work “No Title/101 Spring Street,” a grid of colorful right angles, squares and rectangles of varying sizes that, taken together, seem to give one corner of Judd’s studio a depth and dimensionality that wasn’t there before. Though the commission was pro bono, Novros calls Judd “a wonderful patron. He said, ‘Here’s the place I want it to be in, do what you like.’ And subsequently, I was able to get other jobs because people knew about the work at Don’s and knew that I could make a fresco. In the long run, it was the thing that boosted me.”