I’m too deep into Truitt to write a proper post, but as an addendum to the one below, will note that last night I attended Roberta Smith’s lecture at the New School, sponsored by the International Association of Art Critics (AICA), where she talked about writing description as a way of coming to an understanding about an artwork. She also wrote a review in the Times today of the Roni Horn exhibition at the Whitney that includes a digression on the subject of “curator’s art”:

Ms. Horn’s work has both benefited and suffered from being what might be called “curators’ art.” Curators’ art is indisputably, even innocuously, elegant — with clear roots in Minimal and Conceptual Art and not much else. It tends to be profusely appreciated by a hermetic few, curators, artists and theorists, who fetishize its refinements and often take its creators pretty much at their word. Ms. Horn has always had a lot to say about what her work means and how it is to be viewed, and some of it is quite interesting, but artists don’t own the meaning of their artworks.

Also here you can find the podcast from James Meyer’s gallery talk on Anne Truitt at the Hirshhorn.