Sometimes the lives of artists and art writers are linked together in mutually fruitful and revealing ways. When I started out writing about visual art, thirty-seven years ago, Sean Scully played an important role in my life. After great youthful success in London, knowing that America was the home of ambitious abstract painting, he moved to New York City. And then, after a few difficult, frustrating years in America he submitted his enormous manifesto painting Backs and Fronts (1981) to Critical Perspectives: Curators and Artists, an exhibition organized at PS1 by Joseph Masheck. I went out to Queens, saw that show, immediately located Scully in the telephone directory, and scheduled a studio visit. At that time, I was teaching philosophy in a provincial university. Soon enough, then, Scully found a New York dealer. As to myself, I started publishing art criticism. In that decade, I learnt a great deal from him, and so after writing one catalogue essay and various reviews, in 2004, I was able to publish the second monograph on him.