Anne Truitt, Untitled, 1986, acrylic on paper, 30 1/4 x 23".

Anne Truitt

Matthew Marks Gallery

Anne Truitt, Untitled, 1986, acrylic on paper, 30 1/4 x 23".

The overriding aesthetic of the early 1960s was marked by Clement Greenberg’s procrustean sense of historical inevitability. Anne Truitt first met the demanding critic in 1959; over the years, she encountered Helen Frankenthaler, Kenneth Noland, and the gallerist André Emmerich, who began to show her work in 1963. A New England blue blood who died at the age of eighty-three in 2004, Truitt is best known for her fusion of strong, boxy forms with a cultivated sense of color—Donald Judd meets Brice Marden, as it were. Yet the various associations made with Truitt’s work were anathema to the purely retinal or tactile absolutism of abstraction; she was “condescendingly gendered,” as James Meyer, the ranking historian of Minimalism, noted in these pages in 2002.

Perhaps to quell such uncertainties, the artist’s painted sculptures are forsworn in this exhibition, which instead features

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