I was born in Mississippi, and until I was ten, attended public schools in Mississippi and Tennessee. When I was in the fifth grade, my parents moved to the small town in North Carolina where my mother was born, and where her mother and sister lived. I earned my high school diploma at St. Mary’s, a private girls’ school in Raleigh, and my BA at Duke. When I was 21, I took a train to New York to seek my fortune. I’ve lived in New York City and Connecticut ever since, except for two years in Boston at graduate school. I planned to make my living writing novels. But in New York, economic reality caught up with me, and I wrote about art, and business and finance, because that’s what I could get into print, and what paid the rent. Along the way, I earned my MBA at Harvard, my MA in Art History at Hunter, my PhD in Art History at the Graduate Center, CUNY, and my MA in Fiction Writing at Antioch University. I’ve had a host of part-time jobs, from answering telephones to stuffing flyers in envelopes. I’ve worked as a library assistant, researcher at a management consulting firm, a Wall Street securities analyst, and writer for Institutional Investor magazine and other financial publications. I’ve written articles for numerous art and financial magazines, including Art & Auction, Print Quarterly, and Institutional Investor. I’ve served on the Print Committees of the Metropolitan Museum, the Museum of Modern Art, and the Whitney Museum. I’ve been a member of the Editorial Board of Print Quarterly, and I am an Honorary Keeper of American Prints at the Fitzwilliam Museum, Cambridge University. I’ve served as President of the New York City Art Commission, and Vice Chairman of the New York State Council on the Arts. Fine-art print collecting, in collaboration with my husband, has been a major activity, and prompted me to return to school for a PhD in Art History. We used our collection, thought to be the largest of its type—prints by American artists—to create traveling exhibitions. We circulated seventeen separate exhibits to over one hundred museums worldwide, and I did most of the research and wrote the exhibition catalogues. In December 2008, most of our collection—about 5000 prints—was donated to the National Gallery of Art in Washington, DC, but we are still recognized as experts in the field.