Each issue, ArtAsiaPacific presents a critical essay in collaboration with Burger Collection, a Hong Kong nonprofit that partners with many institutions to support contemporary art worldwide.

In the few photographs that exist of Anne Truitt in her studio, she is always wearing a placid, nearly inscrutable expression. She makes eye contact, but her mind is elsewhere. In 1962, perhaps she is thinking about Tor, the imposing poplar slab she has just bisected and layered with dark paint. In 1986, perhaps it is about the pale blue buoyancy of Landfall (1970), and how she will finish the two sculptures towering beside her.