TABLE OF CONTENTS

Anne M. Wagner

AS AGNES MARTIN and Anne Truitt used them, the two time-honored disciplines, painting and sculpture, pictorial field and solid object, remained importantly distinct. And this is true no matter how far individual works—Martin’s White Flower, 1960, say, or Truitt’s Valley Forge,1963—push the familiar envelope of form. What brings these artists together is not a matter of one or another medium. They are linked because, looking at their artworks, we are given such compelling experiences of time. They offer examples of what—however provisionally, even tendentiously—I’m going to call, borrowing a phrase from Julia Kristeva, “women’s time.”

I’m not suggesting that the experiences Martin and Truitt provide cannot be shared by men—but it is the case that those experiences go against the model of temporality that ruled the New York art world in the 1960s, when, artistically

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