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Miami plays by its own rules, and so do the art advisors who define its scene. This is a city where art collectors think big, move fast, and expect insight that cuts through the noise.

The advisors featured here are the ones shaping Miami’s cultural pulse: the strategists behind museum-worthy collections, the connectors who discover artists before the rest of the world catches on, and the voices who know where the market is heading next. If you want to collect with confidence and conviction, start here!

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Miami’s top art advisors prove that great collecting isn’t about luck. It’s about guidance, insight, and a trusted partner who sees the bigger picture. Whether you’re new to collecting or ready to level up your strategy, investing in the right advisory knowledge is game-changing.

For collectors ready to go deeper, ArtCollect offers expert-led lessons, insider interviews, and a framework for navigating the art world with confidence, helping you collect smarter and make your next acquisition your best yet.

For those looking to guide others, being an art advisor today is exciting but challenging. With no industry-wide standards, mentorship and best practices are essential. That’s why we created Art Advisory 101 and 201, industry-led programs that teach aspiring advisors how to navigate the art world, run a successful business, and manage client relationships with confidence.

The art world is constantly evolving, and few places capture this dynamic energy quite like Miami. Here, we sit down with Sebastien Laboureau, a seasoned art advisor who has his finger on the pulse of this vibrant scene.

Whether you’re an art enthusiast, investor, or simply curious about what’s next in the art world, Sebastien’s insights promise to offer valuable guidance and fresh ideas. Stay tuned as we explore the intersection of creativity, culture, and commerce through his expert lens.

1AN: Miami has become a major hub for collectors and cultural programming. How has the city shaped your approach as an art advisor over the past 15 years?

Sebastien Laboureau: Miami has transformed the way I see collecting. It is a city where energy, ambition, and creativity constantly collide, sometimes beautifully, sometimes chaotically. Living and working here has taught me that advising collectors is not just about finding great art, but it is about creating meaning in motion. The city forces you to stay sharp, curious, and adaptable. It is also where IntelArt.io was born: a platform built to bring knowledge and structure to an ever-changing market. In a place that celebrates glamour and spontaneity, I have learned to value clarity, context and continuity above all.

1AN: Makes sense, as often collecting in Miami intersects with the city’s vibrant events, from Art Basel to local galleries. How do you help clients navigate both the social and investment aspects of the market?

Sebastien Laboureau: Art Basel Miami Beach week is a masterclass in sensory overload: beautiful, exhausting, and at times slightly absurd. My role is to bring calm and meaning to apparent chaos. I help clients distinguish true value from fashionable noise and remind them that collecting should be guided by knowledge, not hype. The best collections are not built on social prestige but on conviction and curiosity. Investing in art should be both rational and joyful: a balanced blend of discipline and delight. If one can find serenity amid Basel’s storm, one can collect with intelligence anywhere.

1AN:  Your work spans Post-War, Contemporary, and Urban Art. How do you decide which pieces or artists to introduce to a collection, particularly in a market as dynamic as Miami’s?

Sebastien Laboureau: Choosing the right artwork is both a science and a confession. I rely on research, experience, and instinct: three voices that don’t necessarily agree, but together form a good compass. I look for works that will endure once the noise fades: a Warhol that still questions fame, a Kusama that still vibrates with obsession, or a young urban artist who transforms rebellion into poetry. BanksyExplained.com grew from this same firm belief: that knowledge turns chaos into understanding. A piece must not only please the eye but also provoke thought and reflect the collector’s own story.

1AN: You’ve curated large-scale exhibitions and programs, such as at the Sagamore Miami Beach. How does your experience with public-facing curation inform the advice you give private collectors?

Sebastien Laboureau: Curation teaches humility: it reminds you that art doesn’t exist for you; you exist to serve it, and it exists to serve everybody. Exhibiting at places like the iconic Sagamore Hotel made me understand how artworks breathe together, how context transforms meaning. When advising collectors, I bring that awareness of narrative, balance and dialogue. A collection must breathe, not just accumulate. Each acquisition should resonate within a larger symphony. Curation trained me to listen to what art does in space, how it speaks to others, and how it ages. In short, it taught me that building a collection is not assembling trophies but orchestrating a story of vision and time.

1AN: Looking ahead, what art market trends or shifts excite you most, and how do you anticipate advising collectors to adapt to them over the next decade?

Sebastien Laboureau: We are entering a new era where technology and creativity are merging faster than our ability to define them. AI will generate images by the millions, yet authenticity and expertise will become even more valuable. That is what I built IntelArt.io for: to give collectors reliable knowledge and structure. Meanwhile, artists like Banksy remind us why art still matters: because it questions, provokes, and connects us in ways algorithms can’t. My advice for the next decade is simple: collect with curiosity, think critically, and never forget that great art is not decoration, but rather resistance with style and meaning.

Connect with Sebastian here.

With more than a decade of experience at the highest levels of the fine-art world, Andrea M. Zorrilla, AAA has carved out a remarkable niche as an advisor, appraiser and scholar of Modern and Contemporary Latin American and Latinx diaspora art. Formerly Vice President and Specialist of Latin American Art at Sotheby’s in New York, she oversaw record-setting sales, curated landmark exhibitions and helped shape conversations around women’s contributions to Latin American art. Now based in Miami after years in New York, she is poised at the crossroads of art market dynamism, cultural identity and global collecting trends.

In this interview we’ll explore Andrea’s personal journey, the evolving Latin American and Latinx art market, why understanding cultural and historical context is critical, and her take on why appraisals are an important component to collection management.

1AN: You helped shape record-breaking sales for artists like Maria Martins, Olga de Amaral, Alice Rahon and Zilia Sánchez during your time at Sotheby’s. What did that experience teach you about how the market recognizes and sometimes overlooks value in Latin American and Latinx art?

Andrea Zorrilla: Directly handling the works that would ultimately achieve world auction records for each of these artists continues to be one of the greatest thrills of my career. Each of these women are seminal figures in the story of Modern and Post-War artistic production; their recognition by the market was long overdue. Most importantly, since those respective moments their markets are continuing to experience upward trajectories.

Art history is a global story shaped by vast networks of interconnected and pan-continental artistic exchange. With that said, Latin American artists, artists of the Caribbean diaspora and Latinx artists have often been omitted or briefly mentioned by name from modern Western art history and contemporary American art history. 

Visibility of these artists on global market platforms are essential to legitimizing their markets and correlated pricing to the wider collecting public: international auction, art fairs, gallery representation in addition to normalizing their presence within settings such as institutional collections, exhibitions, and critical writings of the arts.

1AN: Agreed that such visibility is essential. So, after more than a decade at one of the world’s top auction houses, you launched AMZ Art Advisory & Appraisals. How does working independently change the way you advocate for artists and guide collectors in building more intentional, globally aware collections? 

Andrea Zorrilla: The foundation of my professional ethos has not changed since forming my own independent fine art service. I continue to be driven by the belief that intentional and conscious collecting practices are essential to supporting the larger arts ecosystem. Clients come to me with the understanding that these principles are integral in driving my uniquely oriented advisory services.

In my capacity as independent advisor, I work with my clients in expanding the potential of their collections by introducing a fresh, alternative viewpoint that foregrounds the Global South and/or Latinx practitioners. Essentially, I remove categorical boundaries and ensure a historically coherent, globally attentive visual storyline.  

Collecting art should be joyful. A collector, however, should also be willing to challenge themselves by collecting outside of categorical silos and to look beyond trends and “investment return”. The more a collector is challenging themselves, the more their interests and curiosity expand, they more they engage with globally panoramic viewpoints; eventually that discovery and evolutionary process is reflected in their collections/collecting decisions.

1AN: Perhaps this is why we’ve been seeing growing institutional and market attention toward artists from Latin America and the Caribbean diaspora. From your perspective, what’s driving this renewed global interest and how does it differ from the earlier wave of “Latin American art” sales at auction?

Andrea Zorrilla: Across the last decade, a re-positioning of Latin American and Latinx artists to the international collecting public has been seismic in expanding market awareness.

First, a critical wave of new scholarship is taking on rigorous reassessments of art historical movements and is presenting alternative, untold stories that are inclusive of previously overlooked artistic practitioners.

Also, museum curators with global perspectives are reshaping institutional collections and mounting groundbreaking exhibitions. Meanwhile, museum patrons are demanding more diverse and globally tuned-in representation in both curatorial viewpoints/staff in addition to acquisitions.

And in a response to collector expectations and their evolving taste demands, the major auction houses have recalibrated their traditional, siloed categorical formula by integrating Latin American art and Latinx art into their global sales. In parallel to this, art fairs are diversifying the demographic of galleries and exhibited artists.

The above platforms have been essential in heightening the market presence of Latin American, Latinx, and Caribbean artists. Most importantly, the visibility of these artists must be ongoing and maintained.

1AN: You often emphasize “cross-category integration and contextualization” in collection planning. Can you explain what that means in practice and why understanding cultural and historical context is critical when building a meaningful collection?

Andrea Zorrilla: I typically work with a wide spectrum of clients, including private collectors, family offices, collection managers and art advisory teams, who have an interest in broadening the art historical impact of their existing and/or growing collections. 

Given my decade-plus experience as a trained specialist in both Modern and Contemporary Latin American art and Latinx art, working with clients who collect across multiple categories is second nature to me.  Identifying narrative “gaps” as a means to develop a strategic and practical roadmap that incorporates cross-category, multi-disciplinary and multi-generational artistic dialogues within a collection is the core of my advisory practice. 

Examples of these narrative threads could be placing a Wifredo Lam next to a Kerry James Marshall with an Agustín Cardenas installed alongside them; an Alejandro Puente installed next to a Frank Stella and a Fanny Sanin; an Ana Mendieta displayed alongside a Joan Jonas and a Carolee Schneemann, a Sarah Grilo hanging right next to a Jean-Michel Basquiat. The narratives are endless as is the potential to continue extending these narrative threads with deliberate and careful foresight.

Building these panoramic collections require earnest commitment from the client as well as a willingness to practice slowing down and taking a mindful approach to buying in order to maintain the integrity of their collection.

1AN: You also function as an appraiser, providing appraisal related services via your independent practice. Can you discuss why appraisals are an important component to collection management?

Andrea Zorrilla: Being an appraiser is a profession, it takes significant time and hands on, in-the-weeds experience to develop the skill set needed to perform an appraisal that maintains compliance with the Uniform Standards of Professional Appraisal Practice, while also utilizing your knowledge base in a particular area of expertise to form a competent, sophisticated and relevant value narrative.

When it comes to collection management, appraisers are equally important stakeholders in supporting the responsible stewardship of a collection. To that end, an appraisal can provide valuable insight for a collector and inform their decision-making when it comes to proper care of their collection. An art collector is ultimately a temporary keeper of an artwork with the great responsibility of ensuring the safety and legacy of that work. An example is conducting insurance appraisal updates every few years to best determine appropriate coverage on relevant works. This may avoid the risk of being underinsured in the event of damage or loss to an artwork or alternatively having an artwork overvalued thus impacting premium payments. Another example is for the purpose of legacy and estate planning. An appraisal can be a factor used to determine equitable distribution, long-term/generational maintenance, deaccession options, among other wholistic planning considerations

Connect with Andrea here.

Meet Spring McManus, a well-respected art advisor with a keen eye for emerging talent and a deep passion for supporting artists in their careers. With over two decades of experience in the art world, Spring has mastered the art of blending creativity and strategy to connect artists, collectors, galleries and institutions in unique and impactful ways.

In this exclusive interview, she shares when she advises clients to take risks, how to stay strategic in the impulsive art fair environment, common misunderstandings about blue-chip art, and more.

1AN: You’ve organized exhibitions by icons like Joan Mitchell and Frank Stella. What’s something most collectors still misunderstand about blue-chip art and how value holds, or doesn’t hold, over time?

Spring McManus: Not all Picassos are created equal… It is just as important to understand when the artwork was created, the subject and what was happening in the artist’s life during the time of production. These all play into the value of an artwork, and it all fluctuates depending on timing of current exhibitions, supply and demand, as well as cultural relevance. When an artist’s works challenge or inspire new generations, values go up. Blue-chip artists like Joan Mitchell or Frank Stella have had moments of renewed focus that reinvigorate demand, but they’ve also experienced quieter cycles.

For years, George Condo’s early works had been overlooked, which created an interesting opportunity for my clients who collect his work in depth.  The market focus had been primarily on the cubist portraits or progressions, but over the last few years, there has been a shift with more collectors paying attention to the early works. Now that there is a major retrospective at the Musee d’Art Moderne de Paris highlighting the significance of his early work, I imagine these works will have increased demand, driving prices higher. I am always looking for opportunities like this.

1AN: Well then, it’s good to have access to someone like you with your finger on the pulse! Because even seasoned collectors can fall into patterns and just buy more of the same. How do you push clients to evolve their eye or take risks while still maintaining their trust?

Spring McManus: When I am helping clients build their collections, I am always introducing them to artists that relate to those that they already collect. For example, if a collector is interested in the stars of Surrealism, like Magritte and Dali, I might introduce artworks from Remedios Varo and Valentine Hugo, or Arshile Gorky, and show how these works also connect to contemporary surrealists like Julie Curtiss and Ariana Papademetropoulos. I am always looking for the threads that rhyme visually or create conceptual or historical links.

1AN: That makes sense and I can see how that would help ease anxiety in evolving one’s tastes.  But growth in collecting often requires deeper engagement with the art world beyond transactions. Can someone build a meaningful collection today without being connected to institutions, residencies, or philanthropic networks?

Spring McManus: I encourage collectors to engage with cultural institutions because this is where we learn, discover, and understand art within context. Museums and artist residencies are where ideas are shaped, supported, and sometimes amplified, before they reach the market. This part of collecting is foundational. Supporting institutions is also integral to sustaining the ecosystem that allows artists to grow, experiment, and be seen. Part of my process as an art advisor is taking clients to studio visits, residencies and museums. These experiences deepen their connections with artists and their understanding of process.  In Miami, I support the Fountainhead Artist Residency, the International Women’s Committee of the Perez Art Museum Miami, and the Collector’s Committee at the ICA, which all foster communities of people passionate about visual arts.

1AN: That’s amazing. Speaking of Miami and looking ahead to art fair season, even the most disciplined collectors can get caught up in the frenzy. How do you help clients stay strategic in an environment designed to spark fast, emotional, sometimes impulsive decisions?

Spring McManus: Frenzy is never the right state of mind to buy art. Art fairs can be completely overwhelming and honestly just too much. But I never want to dismiss the possibility of a “love at first sight” moment because when it aligns with knowledge, research, and context, that’s where the magic happens. My role is to slow down the frenzied pace and help clarify goals and priorities before we walk into a fair together, so decisions are rooted in the larger narrative of the collection. When a new discovery happens, we note it, follow up, research, and look again.

1AN: I like this calm, yet strategic approach. The Miami fair ecosystem has exploded between Basel, Art Miami, SCOPE, Untitled, NADA, plus countless satellites. With so many options, which fairs are worth a collector’s time?

Spring McManus: There are too many fairs and too little time. It’s impossible, and unnecessary, to see everything. I guide my clients toward a few that offer the strongest balance of quality, curation, and discovery. I focus on the fairs that consistently present strong, thoughtfully curated works: Art Basel for its museum-caliber presentations and global gallery programs, Untitled and NADA for their highly-curated selection of emerging galleries and artists, and Design Miami for the cross-disciplinary dialogue. The goal isn’t to rush through every tent; otherwise, it becomes visual overload, and nothing resonates. I always encourage a slower, more intentional experience that allows space for looking, thinking, and feeling. When you take the time to truly engage with the work, the fair transforms from a whirlwind of booths into meaningful moments on the journey of buying and collecting art. 

Connect with Spring here.

Miami stands as a dynamic hub for art lovers, collectors, and creators alike. At the heart of this thriving cultural landscape is Catherine Camargo, an esteemed art advisor who agreed to sit down for a chat. She explains how, in this vibrant art scene, understanding the deeper value of art is more important than ever. In this interview, Catherine shares her insights on several compelling topics that every collector and art lover should consider.

Join us as we delve into an enlightening conversation that challenges conventional views on collecting and highlights the rich layers behind every piece of art.

1AN: Having spent years within the Margulies Collection, one of the most respected collections in the U.S., what insights do seasoned collectors have about long-term collection building that often elude newer collectors?

Catherine Camargo: It’s difficult to speak somewhat on behalf of another collector, especially one of Martin Margulies’ caliber, even after years of working closely with him. During my time at his Warehouse in Wynwood, surrounded by artworks that have defined generations of art and taste-making, I was deeply impacted not only by the collection itself but by witnessing how the simplest interactions between colleagues, collaborators, and artists can shape everything you stand for as a collector. The decisions of someone in that position can influence the trajectory of careers and, at times, entire art movements.

Beyond his discerning eye, what always struck me was his consistent presence: giving personal tours of the Warehouse, sharing lunches in our open layout office with artists he has supported for over forty years, and taking the time to explain what first drew him to a work he was considering acquiring. What has kept him so seasoned, I believe, is his lifelong curiosity for art and his genuine care for the relationships he has built with the artists and dealers who helped shape the collection as it stands today.

1AN: Sounds like a sure-fire way to assemble one of the world’s most significant collections of contemporary art! But your curatorial projects often balance minimal aesthetics with subtle political or social subversion. How can collectors identify artworks with significant cultural or conceptual weight, and why does that matter?

Catherine Camargo: I think the best way collectors, whether emerging or wise, can identify artworks with significant cultural and conceptual weight is by reflecting on their initial experience and the emotions evoked when seeing the work for the first time. There is something quite beautiful about the intangible and priceless moment of encountering a work you don’t yet understand but long for whether you long for it because it is beautiful and you want to live beside it, or because you want to hold onto the emotions it stirs in you: confusion, desire, discomfort, awe, or familiarity. 

There is, in my opinion, great significance in this initial interaction between the art and the viewer. In my experience, these moments of deep connection rarely occur when encountering visuals that are immediately familiar or easily digestible. The challenge of questioning our own capacity for what is different is important, as it defines us not only in how we respond to art but also in how we engage with others; people, cultures, and beliefs. When art expands our way of seeing, it opens a space for hope and possibility. It softens rigid perceptions, allowing empathy to grow, and reminds us that transformation often begins in the small, visceral moments when we are moved to think and feel differently. 

1AN: I love that! Nonetheless, some collections appear impressive but lack a cohesive point of view. From a curatorial perspective, what elevates a group of artworks into a meaningful collection with narrative and intention?

Catherine Camargo: This is often, unfortunately, true which is why I believe that collectors just beginning to dip their toes into buying art should enter the world with as much curiosity and openness as possible. While exploring which works they’d like to own, they should also be investigating themselves, taking the time to notice what they are consistently drawn to whether aesthetically or conceptually, subconscious or intentional. Sometimes, the narrative intention of a collection is found precisely within that personal realization. 

If one struggles to find that internal thread, they should make an effort to look outward and speak with artists, gallerists, and advisors. Ask more questions. Have your advisor, gallerist, or friend arrange studio visits with the artists you’re considering collecting. Attend local openings and group shows to see what the contemporaries of the artists you already collect are creating. Visit the humble gallery with no signage on the second floor of an old downtown Miami building (a shameless plug for QUEUE Gallery here) simply because an artist you admire recommended it. Let go of any fear of misunderstanding or not fitting in, this may be the most subjective field in the world. The more a collector develops their own language and learns to articulate their desires when acquiring art, the more intentional and cohesive their collection will become.

Personally, I take note of the collectors who have purchased several works through me, and I find it exciting to watch their eye and language evolve with each acquisition. I often joke with my closest consistent clients about what their collection retrospectives might look like fifty years from now. Will it serve as an archive of the Miami art scene as it exists today, if their current focus remains on emerging local artists? Or will it reflect the vision of someone drawn to a particular medium or philosophy, regardless of an artist’s background? Time will tell but the relationships collectors build within the arts along the way will inevitably shape the evolution of their collections. It’s human nature. That is the only way it should be.

1AN: Agreed! So, with experience spanning exhibitions, collection management, writing, poetry, and sound, is there a tendency among collectors to focus too much on objects rather than sensory, time-based, or conceptual experiences? 

Catherine Camargo: This is a question that comes up often between myself and my peers. It’s something I’ve had to confront personally in representing artists like David Correa, whose practice spans endurance-based performances, sculptures and ephemera created from their remnants, and now powerful, visually striking short films. As his gallerist, while the value of his work is clear to me, I’m constantly challenged to determine how to translate these experiences into tangible pieces that collectors and institutions can acquire. It’s difficult to sell a feeling, a reaction, or an experience.

I believe the answer lies somewhere within my previous thoughts, the importance of showing up, participating, and asking questions. Thoughtful words and reviews may hold the power to describe emotion, but nothing compares to witnessing a time-based work in person: standing among your peers in silence and awe as an artist uses their body as a tool within a performance, or sharing the stillness of a dark room as a film unfolds before you. Once you’ve felt the goosebumps of that kind of encounter, it becomes much easier to understand the value of purchasing a film edition or one of the few tangible remnants of a performance. We must keep showing up.

1AN: Speaking of showing up, how about the lack of broad gallery visibility faced by many artists from working-class or Caribbean backgrounds? What might collectors miss both culturally and financially by overlooking artists outside the traditional market system?

Catherine Camargo: The traditional market system needs a reboot. It needs to be dismantled, unlearned, and reconfigured to make room for the artists who have always existed, who have always been working, and who were rarely granted the opportunity to be discovered. And often enough, when they were historically discovered, it came with predatory consequences. Today, with social media, I believe there are very few excuses for gallerists, art fairs, and institutions to continue ignoring the talent that exists within the working-class and Caribbean diaspora.

It is the responsibility of people in positions such as my own, and anyone who holds a similar role, to make sure that artists from non-luxurious beginnings are offered a pedestal to share their work proudly and inclusively, deserving to be there rather than from a place of vulnerability or voyeurism.

There are countless reasons why collectors miss out culturally and financially by overlooking artists who fall outside the margins of the traditional market system. Culturally, collectors have the opportunity to broaden the geographical and historical reach of their collections. Decades from now, it will hold real meaning to say that the provenance of the works you own extends beyond the origin of “safe zones” of artist warehouses filled with assistants in Connecticut or Los Angeles. It will carry weight to say that a piece in your collection was created in a grandmother’s garage in Hialeah, or that its materials were sourced in Haiti, Guadeloupe, or Cuba. This is value. History is valuable, origin is valuable, and neither can be copied nor mass-produced.

Having faith in artists whose backgrounds lack a clearly defined path toward traditional success can be uncertain, even intimidating, for a collector. But it will always reveal the vision, taste, and integrity of the collector who supported the work before it was deemed desirable by market validation. For instance, imagine those who collected Miami’s iconic Purvis Young while he was still occasionally building cardboard cots to sleep on in the corners of Overtown. The pride they must carry now knowing they hold a piece of history within their living room is immeasurable. A work that may have once cost little more than the price of buying Purvis lunch for a week many moons ago has become a testament not only to his genius, but to the foresight and compassion of those who believed in him before the whole city and art world did.

Connect with Catherine here.

In the world of art and design, where creativity meets strategy, art advisor Alana Greenberg really stood out to us. With a wealth of experience guiding private collectors and developers alike, Alana has mastered the art of elevating spaces through meaningful art integration.

We sat down to chat with Alana, as she shone a light on just how vital a role art plays in built environments. She shared how she convinces developers that art transcends mere decoration, embodying long-term value and community connection. From the insights gained through high-end hospitality projects to her thoughts on the evolving role of cultural strategists in the art advisory landscape, Alana is set to challenge traditional perceptions and inspire new approaches.

Join us for an engaging conversation with someone who’s redefining the intersection of art and architecture.

1AN: You work with developers and architects at a scale most advisors never touch. What do private collectors often misunderstand about commissioning or integrating art into built environments?

Alana Greenberg: When I’m brought into a project early during the architectural or conceptual phase there’s space to create real alchemy between the art and the environment. We’re not just filling blank walls. We’re using art to shape how a place feels its energy, its rhythm, its atmosphere. That kind of integration can completely shift how people experience a space.

Private collectors may not understand that every piece I commission is made specifically for the project and nothing is off-the-shelf. It’s a conversation between the artist, the architecture, and the story behind the site. And because of that, a deeper relationship forms between the art and the space, but also between the creator of the space and the artist who’s contributing to it.

When that alignment happens, the art doesn’t just sit in the space, it activates it. It becomes part of its memory.

1AN: That makes perfect sense. Nonetheless, commercial spaces are usually designed for function first, aesthetics second. How do you convince developers that art isn’t decoration, it’s identity and long-term value?

Alana Greenberg: In my experience, the most impactful projects happen when art is part of the overall vision. Not added at the end, but considered alongside everything else that brings a space to life. It’s about collaborating with teams that understand how powerful a single piece of art can be when it’s placed with intention and aligned with the architecture.

I’ve had the privilege of working with developers who see art as just as valuable as any other element of their project and not an accessory, but part of the foundation. When the design is strong, you don’t need much. Less is often more. The right piece in the right moment can carry the emotional weight of an entire space. It’s about sensitivity, trust, and knowing when to add and when to hold back.

1AN: I’m sure that is a delicate balance. Potentially one you are dealing with now, as you launch a major public work, The Turtle Garden, on A1A in Fort Lauderdale. What does it take to get a project like this approved, built, and brought to life and why are public artworks becoming power plays for cities and brands?

Alana Greenberg: Getting a public artwork like The Turtle Garden off the ground requires patience, vision and trust. There are design reviews, permitting processes, engineering approvals, and timelines that move at a very different pace than the art world. You’re navigating city systems while also holding space for the creative process, which means staying grounded in both structure and spirit. 

I think cities and developers are aware that public art can do something traditional branding can’t. It creates connection. It brings soul to a space. When it’s done with care, a public work becomes part of the city’s identity. Something people remember, return to, and feel a relationship with.

The Turtle Garden is quiet and symbolic. It’s rooted in care for the land, for the ocean, and for the people who pass by. That kind of energy lasts. It becomes part of the landscape in a way no signage ever could.

1AN: We cannot wait to experience it for ourselves. Clearly you are an invaluable asset in transforming environments into reflections of identity and purpose. For instance, you’ve also curated at the Delano. What have luxury hotels and hospitality groups figured out about art that traditional collectors still haven’t?

Alana Greenberg: Hotels don’t just sell rooms. They sell atmosphere, memory, and feeling. The best hospitality groups understand that art is one of the most powerful ways to shape that experience. It creates mood, anchors identity, and sets the tone before a single word is spoken. It becomes part of the guest’s emotional imprint of the space.

What makes this different from traditional collecting is that it’s less about ownership and more about experience. The work must function in real time with lighting, music, architecture, scent. It’s a layered environment. And when you get the balance right, the art doesn’t just live on the wall. It holds the space.

I think hotels were ahead of the curve in realizing that art has commercial value because of its emotional impact. It turns a property into a destination. Not because someone owns it, but because people feel something when they walk through it.

1AN: You’re certainly right there… art is instrumental in creating a mood and setting a tone, just as much, if not more so, in a public setting than a private one. While most advisors work one-on-one with private clients, you operate like a cultural strategist, linking artists, developers, architects, cities, and communities. Is this the future of art advisory?

Alana Greenberg: Every client is different, and every project is its own world. That’s the beauty of this work. No two experiences are the same. Some collectors want a deeply personal, private relationship with art. Others are looking to shape public space, create legacy, or build cultural resonance on a larger scale. I move between those worlds and help translate the vision.

My role has naturally expanded over time, not because I set out to do something different, but because the projects asked for it. One day I might be walking a construction site with an architect, the next I’m in the studio with an artist talking about scale and materials. It’s less about a fixed model and more about listening to the space, to the client, to the intention behind it all. 

I’ve been lucky to find my niche in this ever-evolving industry, and I’m grateful that the art I place can be enjoyed by the people whether it’s in a private home or on a public street. That kind of connection is what keeps me inspired.

Connect with Alana here.

LA’s contemporary art scene pulses with creativity, and at its heart are the city’s most insightful art advisors. These are the people who connect collectors with the works that matter, help shape collections that turn heads, and uncover voices before the rest of the world discovers them. Whether you’re building your first collection or adding museum-grade pieces to a seasoned collection, these Los Angeles-based art advisors are the guides you want to know.

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Behind Los Angeles’ vibrant art scene are advisors like Nancy Gamboa, Annie Wharton, Victoria Burns, Barbara Guggenheim, and John Wolf, each bringing a distinctive vision to collecting. They don’t just advise, they spark discoveries, uncover emerging talent, and help collectors acquire works that are culturally meaningful, visually striking, and strategically smart.

Looking to build or refine your collection? Explore our Art Advisory 101 and 201 programs, designed to give you insider knowledge and confidence in navigating the art market. For collectors ready to take the next step, join ArtCollect, our exclusive membership program connecting you with expert advisors, events, and resources to elevate your collecting journey.

Today, we had the pleasure of speaking with Victoria Burns, a renowned art advisor with over three decades of experience in the international art market. Known for her thoughtful and strategic approach, Victoria has earned a stellar reputation for guiding both new and seasoned collectors in building art collections that reflect their personal vision. An expert in modern and contemporary art, she collaborates with leading galleries to connect clients with works ranging from historically significant blue-chip pieces to cutting-edge works by the next generation of emerging artists. Beyond her work in the market, Victoria is deeply passionate about arts institutions and the cultural fabric of Los Angeles. She is the co-founder of Angeles Art Fund, a giving circle that supports artists and arts nonprofits advancing socially impactful projects in the LA-area. We’re honored to have the opportunity to discuss her insights into the art world.

1AN: Over the course of your 30-year career, what consistent qualities have you seen in collectors who build the most meaningful and lasting collections?

Victoria Burns: Passion, curiosity, engagement, and risk taking. The collectors who build the most meaningful collections fall in love with not only the art they acquire, but also the process of looking, and remain engaged for many years. They look at being connected to art as an important part of everyday life.  Reading about it, visiting museums, galleries and even building travel around opportunities to view and learn about art. They are curious and open-minded about the many ways artists express their ideas and love being challenged by new ideas. They also must be willing to take risks.  Sometimes those risks are financial, making a quick decision under pressure to secure a piece, or paying a little more than they expected because they love the work, and sometimes the risk is installing pieces in unusual ways.

1AN: True, although sometimes taking risks is particularly difficult for new collectors entering the market today. What’s your advice to them on navigating a saturated art world while staying true to a personal vision?

Victoria Burns: For new collectors entering today’s saturated art market, my first piece of advice is simple: make time to look. Visit galleries, museums, fairs, and studios to train your eye and develop your own perspective. Over time, you’ll discover what truly resonates whether it’s a particular medium, style, or conceptual approach.

Collecting should begin with curiosity and personal engagement. There’s no substitute for seeing art in person and learning what moves you. Working with an advisor can help focus your vision, provide context, and connect you to trusted dealers, relevant artists, and movements of interest. We also maintain a robust, global artist and gallery database to help identify rising talent and guide new collectors through a focused, informed journey.

You don’t need a large budget to begin, just a commitment to acquiring the best you can afford, even if it’s one piece per year. Over time, these thoughtful purchases form a cohesive, meaningful collection.

1AN: You would know, as you work with both private and institutional clients. How does your process shift when advising a public-facing collection versus a private one?

Victoria Burns: My process differs when advising public versus private collections. With institutions, especially those with multiple decision-makers in an art committee, reaching consensus can be complex. I focus on creating educational presentations to inform them about artists and how art can engage diverse audiences, emphasizing how collections reflect culture and impact constituents rather than purely investing. With private collectors, the approach is highly personalized. I analyze their home’s design, ask questions about their interests, values, and background to understand their tastes. Some clients quickly provide feedback, allowing me to refine selections, while others need guidance to articulate what they dislike, which helps build their confidence and trust. A private collection is an extension of the individual or a couple, reflecting their passions and life story. Building long-term relationships allows me to better understand each client, resulting in more meaningful and personalized collections over time.

1AN: That makes perfect sense. You’ve developed collections in diverse cities across the U.S. from Telluride to Miami to Chicago. How do regional influences or client lifestyles shape your curatorial approach in different locations?

Victoria Burns: While I wouldn’t describe the collections I’ve developed as “regional,” a client’s location and lifestyle often inform curatorial choices in subtle but meaningful ways. I encourage collectors to think globally, but regional context can shape themes or mediums for both practical and emotional reasons. For instance, in Utah, one collection focuses on environmental and landscape themes, executed not through predictable mountain-home aesthetics, but via internationally recognized artists exploring nature, materiality, and climate in conceptually rigorous ways. This includes artists like Rose B. Simpson, Abel Rodríguez, Faith Wilding, and Brie Ruais. Practical considerations also play a role: in Los Angeles, with its intense natural light, we tend to favor paintings and sculpture to better preserve the work. In contrast, during the 1990s in Chicago, I placed a great deal of photography. Ultimately, my curatorial approach is guided by a client’s vision, the realities of their space, and a desire to engage them with thoughtful, globally relevant art.

1AN: Looking ahead, what trends or shifts in collecting are you most excited about and how are you preparing your clients to respond thoughtfully to those changes? 

Victoria Burns: Each generation brings a fresh perspective to collecting. Many are passionate about supporting contemporary artists of their time, but one on-going trend is to collect the work of women artists who tend to be undervalued in the market. In addition, I see more important art historical work coming onto the market as older generations start deaccessioning. There will be some real acquisition opportunities in the next 5-10 years which we will be sharing with our clients. A thoughtful balance between past and present strengthens a collection’s cultural and financial significance. Above all, collecting should be driven by passion, true appreciation is the foundation of lasting value.

Connect with Victoria here.

Having had John Wolf participate in past panels and discussions, we quickly learned that we love his philosophy on art. He believes the primary focus of a collection is the passion, intellectual curiosity, and respect for the artwork.

John specializes in taking the extra time to demystify and educate clients about all aspects of the art market. Outside of traditional art advisory & brokerage, he consults the interior design trade and curates exhibitions. We’ve always kept abreast of what he’s up to and determined it was finally time to sit down and catch up with him properly. Here’s how that went…

1AN: You’ve built your reputation on demystifying the art world for your clients. What are some of the most common misconceptions new collectors have about the art market, and how do you help them move past those? 

John Wolf: One of the most common misconceptions new collectors bring to the table is the idea that the art market functions like other asset classes—linear, logical, and price-transparent. In reality, it’s far more nuanced. Many assume there’s a fixed formula to value, or that hype equals longevity, when in fact, the true worth of a work lies at the intersection of historical context, institutional support, and cultural relevance.

Another misconception is that collecting is purely transactional, about acquiring objects, when, at its best, it’s about building a relationship with art that reflects personal identity, curiosity, and legacy. I help clients shift from a scarcity mindset (“Will I miss out?”) to one rooted in discernment and meaning.

My role is to act as a bridge: translating the opaque language of the art world into something transparent, grounded, and strategic so that collecting becomes not just informed, but deeply fulfilling.

1AN: True, informed collecting is not only important for private collectors, but also for institutions and corporations, all of whom you work with. How does your advisory process shift depending on the client’s goals?

John Wolf: While the core of my advisory process, thoughtful curation, deep market insight, and strategic foresight, remains consistent, the emphasis shifts depending on the client’s goals.

For private collectors, it’s often about alignment with personal identity, legacy, and emotional resonance. The process becomes intimate, intuitive, and deeply collaborative. We explore not just what they want to collect, but why, uncovering the values and narratives they want reflected in their collection.

For institutions, the approach is more research-driven and mission-aligned. It involves curatorial dialogue, public engagement considerations, and often navigating acquisitions with an eye toward historical significance and educational impact.

With corporations, the strategy centers on brand alignment, space activation, and stakeholder perception. Here, art becomes a vehicle for storytelling, corporate identity, and cultural investment.

Ultimately, I adapt by listening deeply and aligning with the client’s broader vision whether that’s cultural stewardship, personal enrichment, or brand elevation, while bringing access, expertise, and clarity at every step.

1AN: What’s your advice for collectors looking to build a collection that’s not only visually striking, but also deeply personal and enduring over time?  

John Wolf: First off, forget trying to impress anyone. If you’re building a collection just to look cool or check some boxes, it’s going to feel empty real fast. The best collections, the ones that actually matter, start with what moves you. Not what’s trending, not what your neighbor just bought. What hits you in the gut? What makes you stop and think, “What the hell is this… and why can’t I stop looking at it?”

Collecting art isn’t about playing it safe. It’s about taste, risk, and owning your point of view. So yeah, go for pieces that are visually powerful but also make sure they mean something to you. Not every piece needs to match the rug.

And here’s the kicker: a truly personal collection? It ages with you. It becomes this mirror of your growth, your obsessions, your evolution. That’s where the real value is, not just in resale, but in resonance.

1AN: I love that! And speaking of matching your art to the rug or not, you also frequently collaborate with interior designers. What’s your approach to ensuring that artwork complements a space without compromising its integrity as a stand-alone piece?  

John Wolf: I really lean on the experience, talent and wisdom the designer is bringing to the project while aligning my own leadership on the topic of art and how our collaborative energy can create phenomenal results.  The key is to curate with intention, not decoration. I work closely with designers to understand the spatial flow, natural light, and tonal palette, while simultaneously considering the conceptual and material weight of the artwork. Rather than matching art to a sofa, we’re looking to create moments of contrast, harmony, or dialogue, where the piece feels not just appropriate, but inevitable.

It’s about balance: honoring the autonomy of the art while allowing it to amplify the soul of the space. When done right, the artwork doesn’t blend in, it deepens the experience of being in the room.

1AN: Makes sense! And as someone active in the LA art scene and involved with LACMA, what excites you most about the role of West Coast collectors and institutions in shaping the global art conversation?  

John Wolf: What excites me most about West Coast collectors and institutions is their willingness to challenge tradition and embrace experimentation. Los Angeles, in particular, operates with a certain fluidity free from the rigid hierarchies of older art capitals which allows for more inclusive narratives, risk-taking, and cross-cultural dialogue.

Collectors here are less concerned with pedigree for its own sake and more focused on relevance, vision, and impact. There’s a generational shift happening toward collecting with conscience, curiosity, and a desire to shape culture rather than simply inherit it 

Institutions like LACMA, MOCA, and The Broad are leaning into that energy, expanding their curatorial frameworks to reflect the diversity and dynamism of the city itself. As a result, LA is no longer just responding to the global art conversation, it’s helping define it. The West Coast isn’t on the periphery; it’s becoming the pulse.

Connect with John here.

Nancy Gamboa is an art advisor based in Los Angeles whose boutique advisory focuses on establishing collections with sustained cultural, critical and market significance. She is known for guiding private collectors through individual acquisitions while maintaining a larger vision for their holdings. With expertise spanning emerging to blue chip contemporary art and historic works, Nancy’s LA perspective and global outlook has established her international presence.

In this conversation, we explore her insights on the secondary art market, the cornerstones of her advisory practice, and what she believes makes for a greater cultural and philanthropic impact.

1AN: Your advisory practice focuses on collections with lasting cultural, critical, and market significance. How do you define those qualities when evaluating a potential acquisition for a client? 

Nancy Gamboa: Discernment and alignment are key in evaluating potential acquisitions. I look beyond market trends to consider how an artwork resonates culturally, in its ability to shape or reflect broader societal conversation; critically as evidenced by institutional and scholarly engagement, and in terms of market, reflected in commercial viability and long-term value retention. For each client, I align these factors with their personal tastes and collecting goals to ensure that acquisitions hold meaning both in relation to the collector and as part of the evolving discourse on art. This holistic approach maximizes the potential for each acquisition to maintain relevance on multiple levels. 

1AN: Speaking of multiple levels, you’ve cultivated deep knowledge of the Los Angeles art scene while maintaining a global reach. How does your regional insight enrich your advisory work on an international scale?

Nancy Gamboa: Living and working in Los Angeles during a critical period in its development into a globally recognized art nexus has underscored for me the importance of physical landscape, community, and ecosystem in shaping artistic production and engagement. These physical and cultural topographies, informed by the network of artists, institutions, curators, collectors, galleries, auction houses, and artist-run spaces, give a city its cultural identity. In an art world where travel is essential, attunement to place allows me to contextualize artworks within their local milieu, while offering my clients a nuanced, global perspective as they consider acquisitions across diverse geographies. 

1AN: You work with everything from site-specific sculpture to time-based media to historic objects. How do you help clients expand their comfort zones while maintaining curatorial cohesion within their collections?

Nancy Gamboa: My advising process begins with a dialogue, educating my clients about art while listening closely to what resonates with them on a personal and aesthetic level. Together, we identify a focus for their collection, which serves as a unifying framework for future acquisitions. With this foundation in place, I guide my clients toward works that not only align with their focus but also challenge and expand it, introducing new media, ideas, and historical contexts to create collections that are deeply personal and dynamic both visually and intellectually. 

1AN: You’re deeply involved in philanthropic art initiatives, including overseeing museum loans and producing limited editions with artists. How do you guide collectors in aligning their collecting with greater cultural or philanthropic impact?

Nancy Gamboa: I offer my clients opportunities for philanthropic engagement that reflect their collecting goals and values while allowing them to take the lead on what feels aligned with their interests and ability to participate. This can take the form of exhibition loans, supporting nonprofit art initiatives, joining museum acquisition committees and patron groups, or providing institutional support through gifts and financial contributions. In working with collectors and nonprofit institutions, I’ve experienced firsthand how philanthropic engagement bridges collecting with broader cultural impact. This impact can occur at multiple levels, from an emerging artist benefiting from an exhibition loan or museum gift, to improved outcomes for communities in need, to setting a new standard for civic engagement, or providing the public with the opportunity to engage with work previously available to a rarefied few. 

1AN: The secondary market is a key component of your practice. What are some of the challenges and opportunities in sourcing and placing works at this level, and how do you navigate the nuances of discretion, provenance, and timing?

Nancy Gamboa: Discretion, diligence, and an unwavering fiduciary duty to my clients are the cornerstones of my advisory practice. I leverage every available resource, including galleries, private dealers, auction houses, institutions, and artist estates, to secure exceptional works of art for my clients. The secondary market allows for greater agility in responding to market volatility, access to rare and targeted works, enhanced negotiation opportunities on behalf of my clients, and direct deaccessioning options. Confirming provenance, ensuring appropriate pricing, and assessing condition are non-negotiable baseline requirements for any acquisition. Equally, maintaining a robust network and staying deeply attuned to market conditions and timing are essential elements that enable me to optimize outcomes for my clients at every stage.

Connect with Nancy here.

We’ve been keeping an eye on renowned art advisor Laura Solomon, a prominent figure in the New York City art scene, and were excited when she agreed to an interview. With years of experience navigating the intricate world of art acquisition and curation, Laura has established herself as a trusted expert for collectors seeking to enhance their art investments. Her keen eye for emerging talent, deep knowledge of art history, and passion for fostering meaningful connections between artists and collectors have earned her a distinguished reputation. Today, we’ll delve into her journey, insights into the role of an advisor in the art market, and advice for both aspiring collectors and seasoned enthusiasts. Read below to explore the dynamic world of art through Laura’s perspective.

1AN: You’ve had the rare opportunity to work closely with both artists, like Karel Appel, and collectors at the highest level. How has that dual perspective influenced your approach as a private advisor today?

I definitely have a well-rounded perspective having spent decades working with a handful of significant artists. For the artist and studio, knowing the collection and having a direct relationship with the collector is highly valuable. It harkens back to the days when artists were supported by wealthy patrons. The collectors I work with greatly value forging connections with artists and cheering on their successes and supporting their careers over time. On the other hand, I am keenly aware of supply and demand and how acquiring work from a particularly prolific artist has its own set of concerns. This knowledge has also given me an understanding that an artist’s practice and output is not always even and consistent. I know how to evaluate the various phases of an artist’s oeuvre and prioritize certain pieces/periods. I am confident in my ability to select the strongest work out of an exhibition or series. 

1AN: Well, your confidence is well earned with experience, considering you’ve been immersed in the art world since the early ’90s. In your view, how has the role of the art advisor evolved over the past three decades not just in terms of client expectations, but also in the broader context of market transparency, access to information, and the growing intersection between art, lifestyle and investment? 

The role of the art advisor has changed so dramatically in the past few decades as to render the early role one that barely resembles the art advisor of today. Back then, the amount of time it took to source, present and finalize an acquisition took weeks, if not months. In the early days, I would have professional transparencies taken or duplicated and a lengthy art historical write up accompanied catalogs and press packets – all messengered to client’s residences for consideration. I remember using an annual Art in America guide to track down international sources and relying on faxes. A good library was everything and I would sometimes go to Ursus Books by the Carlyle to find an obscure publication to source collectors of a coveted artist.

Being a good advisor has always required resourcefulness, diligence, thoroughness and professionalism. As the art world evolves, you need to be able to see beyond market and media hype to find quality, value and resonance, a perspective that is both macro and micro.

Today, the speed with which information and images are received and sent out is virtually instantaneous. I am checking on emails all day and night and it is often the sooner you act on an offer, the better the chances for “getting” the best work. With that dynamic, it is imperative that you figure out who your collector is and what motivates and inspires them. Then, you need to educate them on artists of interest so much so that when a work drops into their inbox that I have tentatively secured for them, they are in a position to immediately say yes. I feel extremely well-equipped to get collectors ready so that they can take advantage of the privileges that my reputation affords them. So much about being an art advisor today is about access – it helps to be a veteran and to have so many strong relationships that span decades. 

A fully transparent relationship with collectors is essential. Having a contract that delineates my role, how I am compensated and sets the expectations for our relationship is part of that transparency. My clients know that my fiduciary responsibility is to them and as their advisor and I don’t muddy those waters, ever. It also helps to have the most wonderful collectors who don’t speculate or flip and are grateful for the depth of experience and self-expression that collecting affords. I love being in a role where I can metaphorically hold their hand as they develop and introduce art to their lives.

1AN: So, for those collectors who are aiming to build a collection that holds both emotional resonance and long-term value, what guiding principles would you recommend? What role do you, as an advisor, play in helping them navigate that delicate intersection between heart and market?

An art advisor’s role is to do just that – distill the market and understand value-making while allowing the collectors to focus solely on the deep emotional connection. It goes without saying that you hire an art advisor to help you make “good” decisions because of the significant cost of acquisition. There are notable benchmarks I search for when looking at an artist’s bio that can help me find standouts from the hundreds of emails and offers I sift through in a day. The collectors I work with are thrilled when their collection has increased in value but that is not why they collect. I educate them about the market but give them the freedom and confidence to collect with all heart.

1AN: You’ve worked on residential projects at the highest level. How do you approach collaborating with interior designers to ensure the art not only complements the space but also maintains its own integrity and impact within a curated environment?

It is all about asking the right questions and with designers, it is easy to speak their language. When I am tapped by a designer to help source work for a particular project or client, I am very specific in my conversations surrounding aesthetics to be sure I know how they want the art to dialogue with the surroundings. Sometimes, designers are looking for a balanced and cohesive combination of art and interiors. Other times, they are looking for art to add another layer to a space, to find pieces with more depth that have a stronger presence than the interior. In any case, at this high level, the art is not “decoration,” I work with designers to elevate their vision through the presence of fine art.

If I am working with a collector with a major designer attached to a particular residence, I definitely like to involve the designer but at the end of the day, the collector is the one that will ultimately need to sign off on the acquisitions.  It is usually seamless and the collector has chosen to work with a designer because of their vision and execution.

In one instance, a client and a designer I work with often restored, renovated and decorated a magnificent manor house with incredible, eclectic antique furnishings. Rather than continue the trend of sourcing from the period, the collector amassed an impressive collection of challenging Contemporary Art that was impactful and daring. The result was massively successful and the juxtaposition of historical and contemporary was magical. The designer was thrilled and everyone agreed that the marriage of the two, though widely disparate, was fantastic.  

1AN: OK, but aside from residential projects, your advisory work also spans corporate and hospitality spaces. How does your curatorial strategy shift depending on the type of environment you’re sourcing art for?

When it comes to advising for a corporate or hospitality space I curate based on how the space is used. If I am selecting work for a W Hotel, for example, there is a certain level of intrigue and provocativeness that is present in my recommendations, based on the stylish brand and clientele. In contrast, if I am selecting work for a law firm, I may recommend art that is grounded, strong, contained, and current. A recent law office included some ultra-contemporary art to keep in line with their clientele that are often at the forefront of culture; portraying a vibrant firm that is up to date and “in the know”. Of course, that art wasn’t too provocative so as to incite controversy, but it wasn’t dated, for sure! Regardless of the type of environment I am sourcing for, part of being a great art advisor is knowing your client so well as to be able to interpret their personality into aesthetic choices. It is essential to have a deep understanding of the kinds of art that inspire and move them. Considering and interpreting the space where the art will hang and how that space will be used and inhabited is crucial.

Connect with Laura here.

Nina Kong-Surtees has long been a go-to when it comes to legacy preservation. But the NYC-based art advisor also specializes in collection management and cultural stewardship. As the Founder of smART Advisory, she bridges the gap between artists, collectors, and institutions—helping collectors build meaningful collections that appreciate in value while inspiring future generations.

We wanted to better understand how her strategic perspective helps collectors navigate the complexities of the art market while securing their place as cultural stewards. So, we sat down for a chat with Nina and this is what we found out.

1AN: Building an art collection is a deeply personal journey. What advice do you give collectors who want their collection to reflect not just their tastes but also a lasting legacy for future generations?

Photo Credit: Eric Minh Swenson

Art collecting is both a mirror and a time capsule. I always encourage collectors to think of their collection as a living archive of values, interests, and stories. The most impactful collections go beyond aesthetics and financials—they carry the collector’s vision of the world they want to preserve or provoke. My advice is to start by defining what matters most: Is it cultural preservation? Social impact? Championing underrepresented voices? Once that foundation is clear, we build with intentionality. I help clients think about how their collection can serve as a bridge between generations, whether through museum donations, exhibitions, or archival storytelling. Legacy isn’t just what you leave behind—it’s what you stand for.

1AN: I love that! Many collectors focus on acquiring art, but clearly, legacy planning adds another layer of responsibility. What are some of the most overlooked aspects of maintaining and preserving an art collection for future generations?

Art isn’t static—it needs care, context, and contingency planning. One of the most overlooked aspects is documentation—provenance, condition reports, exhibition records, even artist correspondence. These are the invisible threads that hold a collection together over time. Without them, even the most significant works can lose context, value, or even visibility. 

Another critical element is succession planning. I work with collectors to develop stewardship strategies: Who will care for the collection? What are the long-term goals—public access, philanthropic giving, or continued private enjoyment? I also often advise setting up a dedicated foundation or working with estate attorneys and appraisers to ensure the collection’s financial and cultural legacy is protected. Future-proofing a collection means balancing preservation with access, and passion with planning.

1AN: “Future-proofing” a collection is not the first thing many think of! Although collectors are familiar with art advisors, fewer understand the role of an art legacy advisor. How does your approach differ, and what unique value do you bring to the collecting process?

While a traditional art advisor helps collectors acquire and manage works based on market knowledge and taste, my work as an art legacy advisor goes deeper—I help clients articulate and activate the why behind their collection. It’s a holistic approach that blends curation, collection management, and long-term visioning. I bring together the creative, financial, and archival aspects to build something enduring. Whether it’s preparing a collection for museum donation/exhibition, advising heirs on how to engage with inherited works, or mapping out cultural impact, my role is to ensure that the collection outlives trends and generations—while remaining deeply personal. Legacy is not just a final chapter; it’s a living and breathing entity.

Think of me as a cultural futurist—I help collectors shape how their art lives on in the world long after it leaves their walls.

1AN: That’s so important! Now, you’ve integrated business principles from tech, design, and beauty into the art world. How has this cross-industry experience influenced your approach to advising collectors and artists?

Innovation and storytelling are at the heart of every creative industry—and the art world is no exception. My experience in tech taught me how to scale systems and think about digital legacy: How do we preserve, catalog, and share collections in a way that transcends physical space? Design taught me the importance of cohesion, user experience, and spatial storytelling. And beauty—especially brand-building in that space—taught me how to translate emotion into identity. I bring all of these lenses to my work in art advising, helping clients not only build thoughtful collections but also communicate their values, support artists meaningfully, and create experiences that resonate. It’s not just about what you collect—it’s about how and why you show up in the art ecosystem.

1AN: As a member of multiple organizations that support women in the arts, how do you see the role of female collectors, curators, and advisors evolving in today’s market?  

We’re in a pivotal moment where women are not only shaping the narrative—they’re leading it. Female collectors are investing with conviction, supporting overlooked artists, and building more inclusive legacies. Female curators are rewriting institutional priorities. And as advisors, we’re championing transparency, collaboration, and long-term impact. I see the rise of a new kind of collector—one who is values-driven, community-minded, and fearless in forging new paths. Organizations that uplift women in the arts are essential in sustaining this momentum. I’m constantly inspired by the women I work alongside and advise—they’re redefining what power and presence look like in the art world. And we’re just getting started.

Connect with Nina Kong-Surtees here!

Far from being secondary, the decorative arts, ceramics, textiles, woodwork, and furniture, were once considered among the most prestigious forms of artistic expression. As Natasha Schlesinger, art historian, curator, and advisor, notes “before the Industrial Revolution, decorative arts had comparable or even higher value than paintings and sculptures.”

Examples of this abound, from the exquisite intarsia work of the 15th-century Gubbio Studiolo, commissioned by Duke Federico da Montefeltro and now housed in the Met, to the richly woven tapestries that outvalued all other art forms during the Medieval and Renaissance periods. In 17th- and 18th-century France, entire royal workshops like the Gobelins Manufactory were established to produce furniture and tapestries for the monarchy, and famed painters like François Boucher lent their talents to designing upholstery and porcelain for Madame de Pompadour and the Sèvres Manufactory. German cabinetmakers such as Georges Jacob and Adam Weisweiler crafted exquisite lacquer- and porcelain-adorned furniture for Queen Marie Antoinette, works that were as treasured as any painting.

It wasn’t until the 19th century, with the rise of industrial manufacturing and the dissolution of the French guild system, that the value of these art forms began to decline. “Furniture, textile, and ceramic arts diminished in value and quality,” Schlesinger explains, “elevating the status of painters and sculptors above the makers of other disciplines.” This shift marked the beginning of a long-standing division between so-called “fine” and “decorative” arts, which continued through much of the 20th century, with brief exceptions such as the Bauhaus movement that sought to bridge the gap.

Today, however, that divide is breaking down. In the 21st century, artists, collectors, and institutions are once again embracing materials and practices long relegated to the margins. “We can, in fact, see a blurring of the boundaries between fine and decorative arts,” Schlesinger observes, “and the return to materials like ceramics, fiber, and wood to the mainstream of art.”

This renewed appreciation is reshaping how we define artistic value and cultural significance. Museum exhibitions and private collections alike are re-evaluating the role of functional art, placing craftsmanship, materiality, and design at the forefront of artistic discourse. What was once dismissed as ornamental or utilitarian is now commanding center stage and rightfully so.

The Contemporary Shift: Breaking Down Artistic Barriers

In recent decades, contemporary artists, curators, and collectors have begun dismantling the barriers between fine and decorative arts. Textile arts, ceramics, and furniture design are viewed as integral components of the broader artistic landscape. Several key trends have contributed to this shift:

1. The Elevation of Textile and Fiber Arts

Major institutions like MoMA, Tate Modern, and the Whitney Museum have hosted exhibitions showcasing fiber artists, and contemporary creators such as Sheila Hicks, Faith Ringgold, and El Anatsui are celebrated for their innovative use of textiles.

Collectors and museums are increasingly valuing textile works for their material complexity and cultural narratives. Quilts, tapestries, and woven installations now command attention in auction houses like Sotheby’s and Christie’s,

2. The Resurgence of Ceramic and Functional Art

Ceramics are a powerful and expressive medium at the forefront of contemporary artistic practice. Clay has become a site of innovation, storytelling, and cultural commentary. Artists such as Edmund de Waal, Takuro Kuwata, and Magdalene Odundo are redefining the potential of ceramics, creating sculptural works that engage with form, materiality, and narrative on a conceptual level.

Major galleries and international art fairs including Art Basel and Frieze are increasingly showcasing ceramic works alongside painting, photography, and sculpture, affirming their place in the broader art discourse. Collectors, too, are embracing the medium’s unique ability to bridge functionality with high aesthetic value.

Natasha Schlesinger points to a pivotal moment in this cultural shift. “One of the most important moments for ceramics that has emerged to solidify its standing in contemporary art was the nomination of the ceramicist Simone Leigh to represent the USA in the 2022 Venice Biennale.” Leigh’s groundbreaking work brought unprecedented visibility to ceramics as a central mode of artistic expression on the world stage.

A new generation of ceramic artists is also capturing the attention of museums, curators, and collectors alike. Standouts include Woody De Othello, Stephanie Temma Hier, Jessica Stoller, Rose B. Simpson, and Brie Ruais, each using clay to explore identity, body, history, and space in bold, compelling ways. Together, their work underscores a larger transformation: ceramics are reshaping the future of contemporary art.

3. The Influence of Cross-Disciplinary Artists

Today’s creative landscape is increasingly shaped by artists who defy the traditional boundaries between fine and decorative arts. These practitioners operate across disciplines, blending sculpture with furniture, craft with conceptualism, utility with symbolism, challenging conventional classifications and redefining what art can be.

Designers such as Kelly Wearstler and India Mahdavi seamlessly merge function and form, producing interiors and objects that occupy the space between art and design. Meanwhile, artists like Olafur Eliasson and Ai Weiwei regularly incorporate traditional craft techniques, glass-blowing, basket weaving, porcelain, in their large-scale installations, elevating material processes into the realm of high contemporary art.

“The artistic value of an object is no longer determined by whether it is functional or ornamental,” Natasha Schlesinger notes. “It’s about the ideas, materials, and craftsmanship behind it.”

She also highlights artist Rashid Johnson as a particularly compelling example of this boundary-blurring approach. Known for his richly layered work across painting, sculpture, ceramics, video, and installation, Johnson embodies the multidisciplinary spirit of contemporary practice. His upcoming retrospective at the Guggenheim Museum further cements his status as a major voice in the evolution of cross-medium artistic expression.

The Role of Museums and Exhibitions in Redefining Art Categories

As the divide between fine and decorative arts continues to dissolve, museums and galleries are rethinking how they present and contextualize art. Leading institutions such as the Metropolitan Museum of Art, the Victoria & Albert Museum, and the Getty are increasingly spotlighting decorative and textile arts—not as peripheral, but as central to major exhibitions.

One striking example is the Monstrous Beauty: A Feminist Revision of Chinoiserie, a newly opened exhibition at the Metropolitan Museum of Art. As Natasha Schlesinger points out, the show “focuses on porcelain and its history, pairing historic pieces with works by contemporary artists,” offering a critical lens on both decorative art traditions and the colonial narratives often embedded within them. It’s a vivid illustration of how curators are using decorative media not just to celebrate beauty, but to interrogate power, identity, and history.

This institutional reframing is echoed in the commercial sphere, where the worlds of luxury design and contemporary art continue to intersect. High-profile collaborations such as Louis Vuitton’s partnerships with Yayoi Kusama and Jeff Koons challenge rigid definitions of fine versus decorative art. These projects position artist-designed fashion and accessories as legitimate cultural production, blurring the lines between wearable design, collectable object, and artistic statement.

Together, these shifts reflect a cultural realignment, one that values the tactile, the crafted, and the ornamental as integral to the future of art.

The Market Impact: Growing Interest in Decorative and Textile Arts

The growing visibility of decorative and textile arts in museums and galleries is mirrored by a major shift in the art market. Auction houses like Sotheby’s and Christie’s have expanded their offerings to include fiber arts, ceramics, and contemporary furniture design, categories once considered secondary. These mediums are achieving record-breaking sales, signaling a surge in collector interest and an overdue reassessment of their cultural and financial value.

Textile-based works and ceramic sculptures are no longer niche acquisitions. They are commanding serious attention and investment. Artists such as Sheila Hicks, Olga de Amaral, Barbara Chase-Riboud, Judy Chicago, and Faith Ringgold have seen their works fetch impressive prices at auction, with collectors and institutions competing for pieces that blend historical resonance, technical mastery, and material innovation.

This momentum reflects a broader shift in the market, one that acknowledges the artistic significance of non-traditional materials and the conceptual depth of mediums like fiber, clay, and wood. Collectors are increasingly drawn to artists whose practices span fine and decorative arts, recognizing the richness and relevance of works.

What This Means for Collectors and Art Enthusiasts

For collectors, the breakdown of material boundaries offers exciting opportunities to build more dynamic and diverse collections. Instead of focusing solely on paintings or sculptures, collectors can explore textile arts, ceramics, and contemporary design objects that offer equal artistic merit.

When collecting decorative and textile arts, consider the following:

• Provenance and Artist Recognition – Look for works by artists with strong reputations in both fine and decorative art circles.
• Material Innovation – Many contemporary artists experiment with materials, pushing the boundaries of traditional mediums.
• Historical and Cultural Significance – Textile and decorative arts often carry deep historical and cultural narratives, making them compelling additions to a collection.
• Curatorial Integration – Think about how these pieces interact with existing fine art pieces in a collection. Mixing mediums can create a more engaging and layered aesthetic.

Conclusion: A Future Without Boundaries

The blurring of boundaries between fine and decorative arts is reshaping the art world and expanding our understanding of artistic value. As textile arts, ceramics, and design objects gain recognition in fine art spaces, collectors, curators, and artists alike are embracing a more inclusive, multidisciplinary approach to creativity.

In this evolving landscape, the question is no longer whether an object is fine or decorative, but rather how it engages with viewers, materials, and artistic expression. The future of art lies in its ability to transcend labels, proving that beauty, craftsmanship, and concept can exist seamlessly across all mediums.

Looking to invest in textile or decorative arts? Explore upcoming auctions, museum exhibitions, and contemporary artists pushing the boundaries of fine and applied arts.