After spending a year in Venice, Italy, on a Fulbright Scholarship, Sally Hazelet Drummond settled in New York City, where she would become an integral part of its vibrant art scene. She was an early member of the Tanager Gallery, a groundbreaking artist-run cooperative that supported the work of artists, like Drummond, who were imagining innovative ways of painting in the wake of Abstract Expressionism’s early years of success. After visiting a retrospective of the post-Impressionist Georges Seurat in 1958, Drummond developed her own take on the artist’s characteristic Pointillism, a technique of applying small, distinct dots of color to a canvas to form an overall image. A meticulously composed field of dots in related hues of blood red and oxidized maroon covers the surface of Heart of Iron, coagulating in a dark center that seems to retreat from the viewer. Drummond once likened paintings such as this to “a humming, a drone, emanating from somewhere, a unified field, pulsing, energetic.”