James Meyer, curator of art, 1945–1974, National Gallery of Art, speaks with Alexandra Truitt, independent photo editor and picture researcher, and manager, Estate of Anne Truitt. The studio life of Anne Truitt (1921–2004) is explored in the focus exhibition In the Tower: Anne Truitt, which was on view from November 19, 2017, to April 1, 2018. The first major presentation of Truitt's work at the National Gallery of Art, the exhibition celebrates the museum's acquisition of several major artworks by Truitt in recent years, including seminal works from the collection of the Corcoran Gallery of Art, as well as several outstanding loans. Bringing together nine sculptures, two paintings, and 12 works on paper representing the different media in which the artist worked, the exhibition traces Truitt's artistic development from 1961 to 2002. One of the most original and important sculptors to emerge in the United States during the 1960s, Truitt is unique in the field of minimalist art. She hand-painted her sculptures in multiple layers to create abstract compositions of subtle color in three dimensions. Her art is infused with memory and feeling, unlike much minimalist art, and while most of her peers were based in New York or Los Angeles, she worked alone and independently in Washington, DC. In this conversation held on the exhibition’s opening day, James Meyer and Alexandra Truitt discuss the artist’s career and her body of work developed in a series of local studio spaces.