The world of high-end contemporary art fairs is increasingly structured around distinct ecosystems. On one side we have Europe’s mature, institutionally embedded fairs (for example in Basel and Paris) where heritage galleries, museum networks, and curatorial programmes dominate. On the other side we have the U.S.-centred, commercial-scale, high-velocity fair ecosystem epitomised by Miami Art Week. Understanding the difference is critical for art advisors, collectors, galleries, and stakeholders in the moving and logistics space who service art fairs.
Europe’s Art Fairs: Tradition, Prestige, and Institutional Depth
European art fairs have long defined the global standard for excellence in the contemporary art market. Fairs like Art Baselin Switzerland and TEFAF Maastrichtin the Netherlands are steeped in legacy, bringing together blue-chip galleries, curators, and collectors who value intellectual engagement as much as financial investment.
The tone in Europe is curatorial, scholarly, and refined. Art isn’t just bought and sold, it’s contextualized. Fairs collaborate with museums, such as the Centre Pompidouand Kunstmuseum Basel, to elevate works beyond the marketplace.
Art Basel: The Benchmark for Quality
Art Basel Basel remains the global benchmark. The fair’s rigorous selection process and museum-quality presentations attract the world’s leading collectors and institutional buyers.
For participating galleries, presence at Basel signifies credibility and stability. Transactions may occur quietly behind closed doors, but the reputational impact lasts year-round. Satellite fairs like Liste Art Fair Basel extend the dialogue to emerging galleries and experimental artists, underscoring Basel’s role as both a commercial hub and a cultural incubator.
Paris: The Renaissance of a Global Capital
Since the launch of Paris+ par Art Basel, the city has re-emerged as a dynamic force in the art world. Paris offers something distinct from Basel, a mix of legacy institutions and avant-garde energy. During Paris Art Week, the entire city becomes a gallery: collectors move between the Grand Palais Éphémère, theLouvre, and independent galleries in the Marais.
This fair fosters conversation and discovery. While Basel remains the fair of commerce and hierarchy, Paris is the fair of dialogue and vision. It’s where the European art ecosystem breathes new life into collecting culture.
The European Collector Mindset
European collectors tend to play the long game. They value provenance, academic validation, and institutional relevance. Acquisitions often follow curatorial logic rather than speculation. Art advisors in Europe function as cultural translators connecting collectors with meaningful works that align with personal and philanthropic goals. The art logistics infrastructure that supports these collectors (from fine art shipping to museum-grade storage) operates with meticulous precision, often across multiple borders.
Enter Miami Art Week: Commerce Meets Culture
Next month, the art world pivots to the U.S. for Miami Art Week, a carnival of creativity that transforms the city into a marketplace of ideas and opportunity. Anchored by Art Basel Miami Beach, it draws galleries, collectors, and luxury brands from every continent. If Europe’s art fairs are about heritage, Miami is about momentum. Deals happen in real time, with advisors and galleries responding to collectors’ tastes on the fly. Energy, spectacle, and social currency dominate.
The U.S. Ecosystem: Scale, Speed, and Spectacle
Miami’s art fair ecosystem is fast-moving and commercial by design. It’s a global stage where art, design, and lifestyle converge. From Art Miami & CONTEXT, NADA and Untitled Art Fair to Scope Miami Beach, satellite events fill the city with an infectious buzz.
The atmosphere is as much about experience as acquisition. The Art Newspaper aptly described it as “a marketplace meets a festival,” where collectors seek both art and access. For art logistics professionals, it’s a sprint, packing, shipping, and installing high-value works on tight deadlines.
The Role of Art Advisors and Galleries
At Art Basel or Paris+, advisors act as curators and stewards prioritizing significance over spectacle. In Miami, art advisors such as the ones in our networkbecome negotiators and strategists, closing deals amidst an atmosphere of competition and immediacy. For galleries, participation strategy shifts too. In Europe, it’s about positioning within the canon and in Miami, it’s about capturing new collectors, brand collaborations, and cross-industry visibility. Both models are vital to the global art fair ecosystem and increasingly interconnected.
Why Art Logistics Is the Hidden Backbone of the Art World
Behind the glamour of every art fair lies an invisible infrastructure of shippers, handlers, and installers. Trusted partners manage cross-border transport, climate-controlled storage, customs, and installation logistics. Professional art logistics companies from boutique firms in Europe to white-glove services in North America play a crucial role in maintaining the flow of culture. As fairs multiply and timelines tighten, reliability and reputation become invaluable currencies.
Looking Ahead: Miami Art Week and Beyond
As Miami Art Week fast approaches, the contrast between the European and U.S. ecosystems reminds us that there is no single way to experience the global art market.
The European model prizes cultural continuity and connoisseurship; the American model celebrates accessibility, speed, and innovation. Both are essential to the ongoing vitality of contemporary art. For collectors, galleries, and logistics partners, understanding these ecosystems isn’t just strategic, it’s transformative.
How the Paris Art Scene Responds When Democracy Falters
I have returned to Paris often enough that the city is no longer a destination but a process of thinking. Arrival here is rarely neutral.
As a student in the late 60’s in Paris, I supplemented my undergraduate exposure as an art historian and French major immersed in the literature and philosophy of the past from Racine, Pascal, Voltaire, Moliere, Balzac, Baudelaire, Rimbaud, Proust, Camus and Sartre, with the ground-breaking French philosopher and intellectuals of the time, several of whose classes I was privileged to attend.
Claude Levi Straus and Jean Piaget, believed that human thought and behavior are based on underlying, universal structures. They shared a “structuralist “approach, focusing on the interconnected systems and relationships that shape mental and cultural phenomena. Michel Foucault’s philosophical work focused on the idea that knowledge and power are inseparable. All ideas convey power that alters human behavior, and institutions primarily serve as organized attempts to manipulate individuals for particular ends. Foucault criticized historical Western classical-liberal norms for concealing power impositions under the guise of humanitarianism and rationalism.Roland Barthes asserted that the meaning of a text or work is not limited to the author’s intention. On the contrary, it is multiple, shifting, nourished by the interpretations of readers/viewers.
French anthropologists, philosophers, psychologists, psychoanalysts, and poets – were radically changing how we understood the world, knowledge and humanism. These critical theories were intended to provide the philosophical underpinnings and tools for dealing with the traumas caused by colonialism, racism, homophobia, misogyny.
The 60’s and early 70’s were years of political trauma and uprising in France and the United States .For those who know the history, this is not the first time Paris has hosted the collision of art, law, and political upheaval. The spring of 1968 turned the Latin Quarter into a rehearsal studio for new forms of public life — not just protests, but posters, slogans, manifestos, improvised cinemas, print shops, and collective seeing.
Martin Luther King Jr. and Robert Kennedy were assassinated while I was in Paris during the events of 1968. Protests against racism, the war in Vietnam, attacks on homosexuals, and discrimination in employment and voting continued unabated.
These French writers offered and urged acceptance of the challenge to denaturalize social, aesthetic andlinguistic norms and open up new ways of seeing and acting upon the world. The lesson is not that 1968 can be repeated. The lesson is that culture becomes political not when it demands agreement, but when it demands attention.
Paris in 2025 is not Paris in 1968. But the echo remains: art once again asks not what we think, but how we see.
Paris in October: The Movable Feast and the Work of Seeing
Paris has always been a stage for art, politics, memory, and spectacle, a city where institutions narrate history and the streets rehearse its future. To come in late October or November is to enter a season when the art world contracts and intensifies at once. Museums unveil major exhibitions , fairs garner their markets and their rituals. Even ordinary looking may be reframed and charged with consequence.
Last year’s highlights were the successful recapture of the Grand Palais by Art Basel Paris and my restoration to the status of Vip d’Honneur 10 am, with access en principe to a BMW, Mark Rothko, at The Foundation Louis Vuitton, and the 100th anniversary celebrating the birth of Surrealism at the Centre Pompidou. This year, the question was not whether Paris might offer escape from the attacks on democracy and the rule of law occurring elsewhere. The city of light but, does not promise refuge. Paris draws us, like a magnet to the moveable feast of our youth an ever-shifting confluence of action and theory, its bright beacon illuminating for all who choose to observe the dynamics of power, institutional responsibility, and the role of art in a destabilized civic order .
To write from Paris in November 2025 is to write from a place where the spectacle of culture meets the machinery of law, where museums defend their relevance while markets define value faster than criticism can keep pace, and where the line between political event and cultural gesture grows thinner each season. It is also inevitable as a lawyer/observer to write through the lens as someone trained to unearth facts and observe process, watch where power collects, and how it is justified, resisted, or manipulated. But in November 2025, the city felt less like an ideal and more like a mirror: a place where the same pressures facing cultural institutions elsewhere—censorship, market capture, donor influence, political oversight, public exhaustion—are not avoided but exposed.
The notes that follow are not a travelogue. They are a working record of how Paris stages the relationship between art and democracy at a time when both are under strain. . In October, 2025 ,the city felt less like an ideal and more like a mirror: a place where the same pressures facing cultural institutions elsewhere—censorship, market capture, donor influence, political oversight, public exhaustion—are not avoided but exposed. In this season, the work of seeing is not passive. It is a civic act.
The Art Fair Circuit: Does the Marketplace Becomes a Forum?
Every October, Paris becomes the temporary capital of the global art market. What has come to be known as Paris Art Week is a choreography of VIP previews, tiered access, speculative buying, institutional courting, and rapid valuation. Access is currency here, and status appears not as taste but as architecture suspended on the cliff of theater.
Art Basel Paris (formerly FIAC) takes over the Grand Palais, and there are a host of satellite fairs: Paris Internationale and Asia Now in their tenth edition, as well as Offscreen in its fourth edition, are amongst my favorites. Offscreen, which highlights installations, still and moving images, was founded by Julien Freydman, the former Magnum, then Paris Photo director. The late Shigeko Kubota, pioneering Korean video artist was honored this yearwith an exhibition of video works, largely unknown in France. Offscreenat the Chapelle Saint-Louis de la Salpêtrière, part of the historic complex founded by Louis XIV knudged out the Grand Palais as the most relevant architectural and politically resonant fair venue, in keeping with historical,aesthetic and philosophical themes of other exhibitions. The most politically resonant site this season was not Basel Paris at the Grand Palais. It was Offscreen at the Chapelle Saint-Louis de la Salpêtrière part of the, complex of la Salpêtrière hospital ,and asylum where the control over bodies, women, labor, and illness is embedded in the stone. From the time of its founding by King Louis the XIV, in 1695, the hospital is shrouded with a notorious history of the treatment of “mad women” and the diagnosis of hysteria in women. The latter is the legacy of nineteenth century Dr Jean-Martin Charcot whom the French recognize as the father of modern neurology. Charcot’s Iconographie Photographique de la Salpêtrière (1876-80) is a landmark publication in medical photography. This collection of texts and photographs represents the female patients of Dr. Jean-Martin Charcot at the Salpêtrière hospital and asylum during the years of his tenure as director. His classroom presentations of female hysteria in his patients became theater spectacle for “toute Paris”, including Toulouse Latrec, and students, like Sigmund Freud, who translated his work into German. The Surrealists as well as artists like Egon Shiele were also influenced by these studies. The lens of French Theory, particularly, Michel Foucault, in 1968 and today, provides a narrative to understanding this history. See Liz Magic Laser Convulsive States (2023).
Offscreen offered many installations overtly or conceptually distinctly political charged. The installation of Quentin Le Franc which questions how art responds when democratic space contracts seems particularly appropriate to the historical , social and cultural history of the site. The architecture serves as a framework, territory, and playground for the works to create a dialogue between the historical context and installation.
The Art Basel brand is unapologetically and successfully associated with quality and commerce and the Grand Palais is a perfect site for its ambitions. Yet, and through no fault of the architecture, any sense of community and collegiality is in the imagination.. To the extent the VIP program of FIAC promoted this community and salon of ideas, it is lost in this art world dominated by mega-fairs and mega-sales, largely, one might imagine, for investments. Basel Paris has still to learn about how physical not virtual community and conversations promotes sales and value. Paris’ satellite fairs thrive on something else: intimacy, inclusivity, experimentation, and belief in the potential and message of the artists represented.
Museums, Memory and the Politics of Exhibition
If fairs are where value is made, museums are where meaning is negotiated. This season, several major Paris institutions mounted exhibitions that engage directly—sometimes explicitly, sometimes obliquely—with the question of historical memory and democratic fragility.
Paris has never been a neutral ground for culture. Its publicly funded institutions, Louvre, Pompidou, Musée d’Art Moderne, Palais de Tokyo—were built not just to preserve art, but to define what counts as art, what counts as history, and who is authorized to speak . The past decade has seen a plethora of privately funded museums.Cartier and Vuitton foundations and the Pinault Collection all have block buster major exhibitions on view through January, with only the Cartier opening to coincide explicitly with the festivities of Paris Basel. These museums largely exhibiting collections and commissions of their owners, would not exist were it not for luxury brands and the fortunes which fund their passions, tastes and acquisitions.
Whether by coincidence or confluence, I noted a synergy amongst the various exhibitions selected for this article. Perhaps it is the convergence of the 100th year of the birth of Surrealism and the 100th of Art Deco. In 1925, the International Exhibition of Modern Decorative and Industrial Arts in Paris marked the peak of Art Deco. Decorators, manufacturers, magazines, department stores, artists, and even foreign nations competed fiercely to occupy Parisian buildings or erect temporary structures to display their latest creations.
The destabilization of the world order, attacks on the rule of law, the rise of fascism, conflicts, and genocide and the disappearance of facts as we know them, have provoked responses of the art world and the broader question of the role of the artist and art in these times. Many of the exhibitions have been planned before the current threats to democracy and the fact that the world is increasingly divided into camps and an alternative universe. Yet, the artists and exhibitions on view provide remarkable and appropriate models for hope and transformation to a more equitable and harmonious world, whether such art is influenced and fueled by poetry, imagination, Surrealism, French theory, Buddhism or variants thereupon.
Michel Foucault and Roland Barthes were significantly influenced by Surrealism, particularly in its challenge to rational thought and traditional structures of meaning. Surrealism, through its emphasis on the unconscious, dreams, and “pure psychic automatism,” sought to bypass conscious, rational control to access a deeper reality. This devaluation of the rational mind resonated with post-structuralist thinkers who critiqued the dominance of reason and objective truth in Western thought .Exhibitions in Paris reflect these historical trends of poetry and spirituality on the one hand and politics on the other . Although beyond this Diary entry,, the movable feast continues beyond Paris: Poetry, surrealism, and politics influence major exhibits whose openings I recently attended in New York and Philadelphia and should not be missed. Holland Cotter writes in the New York Times that “Coco Fusco: Tomorrow, I will Become an Island” at El Museo del Barrio hits all these keys – combative, comedic, poetic . The Philadelphia Museum of Art is home to the Pompidou exhibition of Surrealism, revamped to include the Philadelphia Museum’s spectacular holdings and other loans, MOMA has dedicated its third floor to a spectacular and comprehensive exhibition of Wifredo Lam which shines on the power and prestige of MoMA with significant works loaned from private collectors.
Palais de Tokyo — Echo, Delay, Reverb: American Art and Francophone Thought 22 October 2025 – 15 February 2026, Artistic Director Naomi Beckwith and Elvan Zabunyan
Curated as dialogue rather than thesis, it questions what happens when cultural history is not linear but recursive—when images return but are altered by power. Even though I participated as a law professor in an academic group originating at the Harvard Law School inspired by French Theory theory in the 1980’s, which included Dean and Professor Derrick Bell, the founder of critical race theory, I was unaware of the huge impact Beckwith claims for French Theory on artistic practice, until her brilliantly conceived and ambitiously orchestrated exhibition, I was also unaware of the role played in the dissemination of French Theory by the Whitney Independent Study (ISP) Program Beckwith is an alumna. The program has been suspended by the chilling effect of President Trump’s attacks on wokeism and freedom of speech and artistic expression.
The exhibition purports to show how artists in the United States catalyzed the revolutionary energies of thinkers who were by turn activists and poets – from Simon de Beauvoir, Michel Foucault and Jacques Derrida to Frantz Fanon, Jean Genet, Aimé Césaire, Monique Wittig, Pierre Bourdieu and Edouard Glissant – to transgress genres and shift perspectives on the world today. Beckwith’s thesis is that reading the work of these authors helped artists in the United States to translate their ideas into unexpected forms and to forge tools with which critique institutions of the art world and of society as a whole. For them, theory has not been a gloss but a powerful impetus for denaturalizing social,aesthetic and linguistic norms and opening up new ways of seeing and acting upon the world. The book which accompanies the exhibition is not a catalogue, pays homage to Palestine and its flag in the colors red, black, white and green, in memory of Felix Gonzalez Torres an alumni of ISP who created an artwork on this theme, and is offered as a tool kit for resistance and hope in this chaotic time.
This work of Allora & Calzadilla references and pays homage to a meeting of which took place in Martinque in April 1941 bteween a group of artists and writers Andre Breton, Wifredo Lam and Claude Levi Strauss fleeing from occupied France, and Martinican poets Suzanne and Aime Cesaire.
Melvin Edwards — Palais de Tokyo Part of the “Echo, Delay, Reverb” season
After Nazism, the Eurocentric conception of the human as a central value was challenged by many postwar philosophers.
At the same time, Frantz Fanon, as well as the poets of Négritude—such as Aimé Césaire, with his Discourse on Colonialism (1950), Suzanne Césaire, and Léon-Gontran Damas—contributed to this critique of humanism by highlighting the dehumanizing character of the colonial and racist project that structures Western societies. Homage to his friend Damas is below. Mel Edwards was a close friend of the Négritude co-founder, the poet Léon-Gontran Damas from French Guiana, and dedicated a major five-part work, Homage to the Poet Léon-Gontran Damas (1978-1981), to him. This connection highlights the influence of Négritude’s ideas, which centered on affirming Black identity and culture against the backdrop of French colonialism and universalism, on Edwards’ practice. Edwards’ long-standing sculptural language—barbed wire, welded steel, forms evoking captivity and resistance—reads differently in 2025, when the question is no longer how violence is remembered, but how it is normalized.
The Poetics of Resistance: Beyond Identity, Beyond Didacticism
If the Palais de Tokyo tends toward theory—structural, academic, curatorial—another artistic response has emerged in Paris this season: a poetics rather than a manifesto. A turn toward imagination rather than argument. Not post-political, but post-didactic. Artists who refuse to reduce themselves to representation yetrefuse to abandon the political stakes of the moment.
This is visible across several exhibitions, but most clearly in three figures whose work moves past identity categories into something speculative, visionary or poetic.
Jemison’s work treats language, gesture, and futurity as forms of refusal. Her films, texts, and performances engage Afrofuturism not as fantasy but as method: a way to make space where dominant narratives refuse it.
Rather than depict identity, she disassembles it—turning the viewer from spectator into decoder. Jemison is one of the clearest reminders that art does not need to choose between politics and poetry; it can make politics legible only through poetry.
Gerhard Richter — Foundation Louis Vuitton 17 October 2025 – 2 March 2026
A six-decade retrospective, including the politically loaded 18 October 1977 cycle—Richter’s blurred images of the Red Army Faction suicides in German prison. Once controversial, now newly resonant in an age when state violence is both hyper-visible and structurally denied.
Richter famously said:
“Art is the highest form of hope.”
These are not contradictions. They are twin recognitions: that truth is fugitive, and hope requires form. Richter’s abstractions do not resolve history—they hold it in suspension.
George Condo — Musée d’Art Moderne de Paris 10 October 2025 – 8 February 2026
Condo’s Black Series—Expressionism twisted into psychological architecture—returns at a moment when fracture has become a global norm. His figures, distorted but unmistakably human, resemble not political portraits but the emotional ruins politics leaves behind.
If democracy is faltering, Condo’s paintings show the internal weather of that collapse. Not critique, but aftermath.
Philip Guston — Musée Picasso 14 October 2025 – 1 March 2026
Once delayed for fear of public controversy, the Guston exhibition now lands in a world where controversy is constant, and avoidance looks like complicity. The hooded figures return—not as symbols of race alone, but as warnings about what happens when violence goes unexamined long enough to become cartoon.
The museum now asks viewers not whether the work is offensive, but whether our unoffendedness has made us politically numb.
Paris is not just a city of exhibitions but of enacted arguments. Architecture functions here as a legal brief in stone—declaring what is private, what is public, what is preserved, and what is permitted to disappear.
Cité de l’Architecture — Paris 1925: Art Deco and Its Architects 22 October 2025 – 29 March 2026
Bust of Le Corbusier
A centenary exhibition marking Art Deco not as nostalgia but as a reminder that style is never apolitical. Art Deco was the aesthetic of interwar optimism—and of rising authoritarianism. The show includes works by Le Corbusier and others whose visions of order now appear double-edged: utopian, and disciplining.
From 28 April to 30 November 1925, the Exposition Internationale des Arts Décoratifs was held in Paris, where each country presented its most emblematic achievements in the decorative arts in temporary pavilions.
There were two opposing architectural movements: the Art Deco style and the modernist movement, also known as the international avant-garde.
Le Corbusier and Pierre Jeanneret were given a plot of land behind the Grand Palais for their project. As the plot was wooded, Le Corbusier built his pavilion with a tree in the centre, which emerged through the roof.
Fondation Cartier pour l’art contemporain
This is now relocated to 2 Place du Palais-Royal, in a newly adapted Jean Nouvel–designed space from the original galleries of the Louvre.
Nouvel’s design, once dismissed as spectacle, now reads as a proposition: museums must be legible from the outside, or risk becoming citadels: glass, permeability, and civic transparency as architectural thesis. On the other hand, apart from any intention, the trajectory and exhibition wre disquieting architecturally.
What is remarkably interesting in the Cartier Collection, which exhibits commissions over the years, is its diversity in the selection of artists from around the world, diversity in medium and out-of-the-box thinking of contemporary art. This is not market-driven art. The collection is forward looking, inclusive and prescient of the direction of art to come in a world of technology, AI and globalism.
Minimal” exhibition at the Pinault Collection’s Bourse de Commerce in Paris, is a counterweight to the spectacle of the fair, Minimal stages quietness as resistance: works by Judd, Kawara, Ryman, LeWitt, Dorthea Rockbourne, Maren Hassinger and Howardena Pindell— pieces that refuse narrative, refuse speed, refuse distraction. In a season of overstimulated publics, the exhibition proposes attention as a political ace. As with Cartier, the exhibition, which is composed largely of Pinault’s collection, is avant-garde in the number of women artists over 50 who only recently have gained the prominence and market deserved.
It is not the art that is minimal, but the argument: If democracy depends on attention, then attention must be trained — slowly, deliberately, against the market’s velocity.
The American Parallel: 2024 and the Shrinking Democratic Imagination
Across the Atlantic, the 2024 U.S. election showed what happens when democracy is treated as spectacle instead of structure. Legal systems bent, norms disappeared, fiction and fantasy replaced facts, and institutions once thought stable became stage sets for power.
Since Trump’s Executive Orders, multiple American museums were attacked — not with fire, but with funding withdrawals, board interventions, legislative threats, and demands for “neutrality” that were anything but neutral. The cancellation of several Smithsonian exhibitions and the performance by ISP are only a few examples.
Paris is not the escape from this condition. It is its reflection.
The Politics of Attendance
To attend an exhibition now is not a cultural act alone. It is a civic one. Showing up to the museum, the fair, the talk, the archive is a declaration that public space still matters, that meaning is not fully privatized, that art still functions as more than asset class or décor.
Absence, too, is political and institutions feel it.
In a world where attention is monetized, the decision to give it freely is a form of rebellion.
Conclusion — The Lawyer-Observer Writes from Paris
If critique is the labor of attention, hope is its companion. Not naïve hope, but procedural hope. Thekind that knows democracy is not guaranteed, that the law is not self-enforcing, that culture is not automatically public, but must be defended every season, every exhibition, every time we choose to look rather than scroll past.
Paris does not offer answers, only rehearsals.
It teaches us that art is not evidence, but inquiry. That museums are not mausoleums, but arguments. That fairs are not just markets, but weather reports for the emotional economy of a civilization under stress. That architecture remembers what politics forgets. That the work of seeing is still a public duty. That the poetry, meditation and imagination of artists like Coco Fusco, Jen de Nike, Stepfani Jemison can take us to another exterior level where alternative universes created by different facts transform at a level where the universe begins to acknowledge the oneness of all living beings and that we are all part of a giant ecosystem of life in the universe.
And so, the phrase returns, not as nostalgia but as instruction:
A movable feast.
Not a celebration, but a practice.
Not a refuge, but a rehearsal.
Not an escape from history, but a way of looking at it without surrender.
Art is the highest form of hope.
— Gerhard Richter, Documenta 7 in Kassel, 1982.
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.
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.
In 2025, the art world finds itself in an uneasy crossroads. What once seemed a relatively frictionless system of cross-border exchange is now encountering trade walls, uncertainties, and shifting incentives. While art is not usually thought of as a “tariffed commodity,” recent policy moves, supply chain disruptions, and legal ambiguity are pushing galleries and art fairs to rethink exhibiting in the U.S. This piece unpacks the complex relationship between tariffs and the art ecosystem and why many galleries are pausing U.S. participation entirely.
The High Cost of Crossing Borders: What Tariffs Mean for the Art World
In April 2025, the Trump administration introduced a sweeping tariff initiative dubbed “Liberation Day,” which imposed a 10 % baseline duty on nearly all imports beginning April 5, along with additional, reciprocal tariffs of up to 54 % for certain countries. The move ignited immediate concern across industries—including art, antiques, and decorative arts, about which goods would be impacted, how costs would shift, and how customs authorities would interpret these rules.
At first blush, much of the art world seemed sheltered: paintings, sculptures, and works of fine art are broadly considered exempt under U.S. law (e.g. 50 U.S.C. § 1702(b)) and historical precedent of treating art differently in customs. But ambiguity, shifting policy, and surrounding cost pressures are compelling galleries to re-examine their strategies.
Why Art Is Being Treated Like a Commodity And Why That’s a Problem
One of the most confusing aspects for galleries, dealers, and collectors is precisely which items are exempt and which are not. While “fine art” is broadly understood to be exempt, many related objects such as furniture, design, decorative arts, limited editions, art + object hybrids, or even framed works with materials from abroad fall into murkier categories.
Moreover, the baseline 10 % duty (applied broadly) and the additional country-specific rates create a two-tier environment. Some galleries report that the mechanical, structural, or framing materials (metals, steel supports, aluminum, glass, external hardware) may still attract duties under “goods” classifications. In short, an artwork may be untaxed, but the path it travels crates, mounting hardware, packaging can incur fees, paperwork, or inspection delays that erode margins.
Art Fairs Under Pressure: Rising Costs Are Shrinking Participation
Art fairs operate on tight logistics schedules. Dealers ship works internationally, often rely on bonded or temporary import regimes (like ATA carnets), and must coordinate installation, insurance, and return. The introduction of new tariffs has shaken confidence in that system.
On the New York ground, dealers in Chelsea described the situation in terms of “chaos”: shippers, trade groups, and customs authorities scrambled to interpret the sudden announcements. Some galleries questioned whether returning works from fairs abroad would trigger retaliation or counter-tariff measures. The fair circuit in the U.S. is under strain not just from cost, but from unpredictability.
Galleries Are Saying “No Thanks” to U.S. Fairs
Because the cost of doing business in the U.S. has become more volatile, some galleries especially small and mid-sized boutiques are strategically opting out. Instead, they are redirecting their efforts to Canada, Latin America, Europe, or regional fairs with more stable regulatory environments.
For example, galleries that might once have shown in Miami or New York are now leaning toward exhibiting at Toronto, Mexico City, or ports like Bogotá or São Paulo. These alternative markets often offer lower overhead, fewer customs exposures, and incentives for regional participation.
Moreover, the broader environment (exchange rates, inflation, shipping disruptions) makes U.S. shows comparatively less attractive. The margin squeeze is steep if the centerpiece of your exhibition could trigger unexpected duties or bureaucratic delays.
Temporary Imports, Permanent Headaches: The ATA Carnet Dilemma
Many fairs rely on the ATA Carnet system, which allows temporary duty-free entry of exhibition goods. But even with carnets, complications arise:
Customs authorities may demand additional documentation, scrutinize classification, or delay release if the nature of the goods is ambiguous.
If extensions are needed or delays cause the carnet to expire, the temporary status can be jeopardized.
The process of repatriating works (returning them after the fair) may invite inspections or reinterpretation under new tariff rules.
Some galleries fear that an oversaturated customs environment could prompt audits, penalties, or demands for retrospective duty payment.
In a shifting tariff environment, reliance on a carnet is becoming a risk buffer not a full shield.
Insurance, Shipping, and Storage: The Hidden Chain Reaction of Tariffs
Tariffs don’t just show up as headline import duties. They ripple through the ecosystem:
Shipping and freight: Global container rates, fuel surcharges, and routing changes have already been volatile in 2025. The added tax exposure makes carriers more cautious, often increasing premiums or surcharges.
Insurance: Insurers may adjust their risk assessments when goods move through multiple jurisdictions with tariff risk. The possibility of duties being claimed after the fact in transit adds contingent liability.
Storage and warehousing: If goods are held temporarily in U.S. bonded zones or transit warehouses, assignment of risk and classification becomes more complicated.
Material costs: Many artists and galleries source raw materials, frames, hardware, or supporting elements internationally. These inputs are already being hit with tariffs, raising base production costs even before an object leaves its country of origin.
Thus, the tariff system is pushing up the “all-in” cost to exhibit in the U.S., beyond just the headline import tax.
When Tariffs Affect Relationships: Artists, Dealers, and Collectors All Lose
Because exchange and exhibition strategies are in flux, relationships in the art world are feeling strain. Artists who live or work abroad may see fewer opportunities to show in the U.S. through galleries. Dealers hesitate to take risks on emerging artists whose provenance or material sources could invite tariff ambiguities. Collectors may be deterred by additional transaction friction or cost uncertainty.
In effect, the tariff policy threatens the very infrastructure of trust, collaboration, and mobility that underpins art commerce. For artists from countries subject to higher reciprocal tariffs, their market access is impaired, even if the artwork itself remains exempt.
Who Has the Advantage Now? The Rise of Regional and Digital Fairs
As galleries rethink U.S. shows, other markets and models are stepping in:
Regional fairs (Toronto, São Paulo, Mexico City, Bogotá, Dubai) are growing in appeal. The relative ease of logistics, cultural proximity, and clearer duty regimes make them safer bets.
Hybrid/virtual fairs: Some galleries are experimenting with online viewings, streaming sales, or digital activation that reduce the need for physical transport.
Import hubs or transshipment strategies: Some galleries route works through tariff-friendly countries before final shipment, or consolidate shipments over time to amortize fixed costs.
This repositioning is not just survival, it may be a longer-term rebalancing of the global art map.
Creative Workarounds: How Galleries Are Adapting to Survive
Careful classification / tariff engineering: Ensuring works or components fall within exempt or lower-duty codes where possible.
Many of these strategies work only when the gallery has scale, legal counsel, and flexibility. Smaller players may find the barrier too steep.
So What’s Next
From our vantage, the current tariff environment is less a crisis than a stress test. Galleries with deep resources will likely adapt; mid- and small-sized dealers will struggle. Even if the artwork itself remains exempt, the cascade of shipping, insurance, classification, and regulatory risk is reshaping decisions at the margin. Over time, this may shift the gravity of the global art world away from the U.S. and toward more tariff-friendly, stable hubs.
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’re sitting down with Annie Wharton — a former exhibiting artist turned curator, before eventually launching her own gallery, then evolving into Annie Wharton Art Consulting in 2013. Phew! Based in Los Angeles, Annie has worked with everyone from first-time collectors to major developers, helping bring thoughtful, diverse art into both private and public spaces. With a deep love for emerging artists and nearly 4,000 studio visits under her belt, she’s got a unique pulse on the contemporary art world. Let’s dive into her journey, her projects, and her perspective on transitioning collections from the private to the public realm.
1AN: You’ve advised on everything from private acquisitions to large-scale public art projects. How do you tailor your approach depending on whether you’re working with an individual collector, a corporation, or a city agency?
Annie Wharton: Each project begins with a deep dive into the client’s goals: are we building upon an existing collection or creating something entirely new? What are the aesthetic, cultural, and financial priorities? What’s the timeline and context? Every client brings a unique set of constraints and ambitions, so my approach is always strategically tailored and creatively responsive.
For private collectors, the process tends to be more intimate and conversational. It’s about uncovering what resonates on a personal level and then shaping a collection that reflects their evolving interests, values, and worldview. These clients tend to be closely involved in artist selection, and I love facilitating that process where it becomes a collaborative and deeply creative exchange.
With corporate clients, I partner with architects, designers, and leadership teams to ensure the work reflects the company’s ethos and enhances the built environment. These projects require a special sensitivity to the client’s identity, spatial context, and stakeholder consensus.
Public art introduces an entirely different matrix of considerations: community engagement, site specificity, municipal review processes, fabrication logistics, and longer timelines. Across all sectors, my role is part curator, part strategist, and part translator, ensuring each decision is grounded in aesthetic intelligence and logistical precision.
An installation entitled Ocean Ions by Christian Sampson at Laguna Art Museum. Photo courtesy of Laguna Art Museum
1AN: I believe it! No doubt that public art projects, like the one at San Jose Airport or the Brooklyn school, involve a high degree of coordination and creativity. What’s the most rewarding and most challenging aspect of managing projects of this scale and visibility?
Annie Wharton: Public art is one of the most complex yet rewarding aspects of my practice. These projects invite artists to think on an architectural or infrastructural scale and ask them to consider how their work interacts with public space, civic identity, and community engagement, while at the same time meeting the technical and logistical demands of the built environment.
Annie Wharton with artist Krysten Cunningham and her Little Wing installation at LAX Airport, Los Angeles. Photo credit: Andrei Brauner-Guzman
Projects often require multi-year timelines and the coordination of numerous stakeholders, including the organization’s staff, fabricators, artists, architects, and community members. It is important to protect the integrity of artist vision while navigating bureaucratic and logistical complexities with precision. It’s also vital to bring detailed knowledge of materials, fabrication techniques, permitting requirements, and stakeholder engagement strategies. All of these things are necessary to move public art projects from concept to completion and expand the artist’s oeuvre beyond any production limitations they may have within their studio.
The opportunity to create something that’s integrated into daily life is particularly fulfilling. Art that’s not sequestered within a white cube but is encountered unexpectedly, shaping how people move through and understand their environment. It democratizes access and sparks dialogue across audiences who may not otherwise engage with contemporary art. Seeing an artwork live in space, inspire curiosity, and become part of a city’s visual vocabulary is extraordinary.
1AN: Makes sense. And as for your private clients, I understand that many are not only acquiring for personal enjoyment but also thinking about long-term impact. How do you help collectors navigate the transition from acquiring for their homes to shaping a collection that could one day enter the public realm whether through loans, gifts, or legacy planning?
Years of close collaboration with artists and institutions have sharpened my instinct for identifying practices with lasting cultural and historical relevance beyond current market trends. That instinct is essential when advising clients who are shifting their focus from personal enjoyment to long-term legacy.
My work is always guided by a focus on quality of work and future relevance. Whether a client is just starting to collect or has an established collection of works, I help them clarify their curatorial objectives to find where narratives emerge and how those stories might evolve in dialogue with future audiences or institutions.
When that structure is in place, we can begin thinking strategically for the long term and most clients want to be very hands-on in shaping this trajectory. An art consultant can serve as both a strategic partner and cultural steward, helping to ensure that their investments appreciate materially and the collection evolves in meaningful ways. At its best, collecting can be a form of cultural authorship, a symphony composed of many parts.
1AN: Speaking of cultural authorship, how do you work with private collectors to support artists beyond purchasing work — for example, through private commissions or public projects?
Annie Wharton: Collectors who are interested in supporting artists beyond the acquisition of finished works also have an opportunity to participate in the creative process in an impactful way. This kind of engagement begins with conversations about intent. Sometimes it starts with a client who loves an artist’s work and wants them to create a site-specific installation for their new home or business. We ensure that those commissioning understand the artist’s conceptual framework, materials, and ambitions.
Once this foundation is established, a kind of reverse engineering is required to ensure a smooth development of the project’s scope and goals within the artwork site and available resources. This can look as simple as contracting an artist to create work in their style (I’d never ask an artist to alter their established visual or conceptual framework), but on a larger scale or to perfectly fit a specific space.
We also work with artists to create schemas for work and then bring in architects, fabricators, engineers, tile or stained-glass specialists, welders…whatever is needed to actualize the artists’ vision.
A thoughtfully executed commission or underwritten public art project allows commissioners to expand their comprehension of the creative process and assume the role of both custodian and peripheral participant in the way art is made, seen, and understood. This kind of patronage surpasses the transactional and moves toward a model of long-term investment in cultural production.
This installation was a commission for a client where the artist created a mashup of the family’s architectural favorites – Kim Schoenstadt’s Exercise in Perspective #4, 2022, Private Collection, Los Angeles. Photo credit: Ruben Diaz
1AN: You’re currently leading projects across California, Florida, and New York. Are you seeing regional differences in what clients are looking for, either aesthetically or strategically, when it comes to building a contemporary art collection?
Annie Wharton: My work is anchored by a commitment to quality, integrity, and long-term vision. But yes, geography does help to shape how clients engage with contemporary art. Distinctions of place, market trends, and sometimes even climate can influence aesthetic preferences, the tempo of decision-making, or the philosophical framework clients bring to collecting.
That said, across California, Florida, and New York, the most consistent throughline is an appreciation for artwork that has conceptual rigor, emotional resonance, and the capacity to contribute meaningfully to broader cultural conversations. These are nuanced dialogues, often rooted in both historical awareness and forward-looking philanthropic goals.
My job is to interpret and navigate the multiplicity of differences in terrain. I try to introduce clients to artists whose practices can be universally appreciated.
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.
Rupy C. Tut “A Natural Thought” (2025) installed in a client’s Los Angeles home.
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.
Diedrick Brackens, Andy Warhol, El Anatsui, Alexander Calder, Alberto Giacometti, Tony Smith, and Marino Marini installed in a client’s Chicago living room.
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.
Faith Wilding and Rose B. Simpson installed in a client’s Park City, Utah home.
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.
Nick Cave “Hustle Coat” (2015) installed in a client’s Los Angeles residence. (photo credit: Laura Hull)
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.
For today’s collectors, art isn’t just something that goes on the wall once the room is furnished, it’s the starting point. In many luxury homes, commercial spaces, and hospitality projects, artwork is now considered a foundational element of interior architecture.
That’s where the collaboration between art advisors and interior designers comes in. When these two worlds converge, collectors benefit from deeply informed decisions that merge emotional connection, market intelligence, and design harmony.
At One Art Nation, we regularly explore how collecting and curating go hand-in-hand with modern design practices. This evolution is not just aesthetic, it’s strategic. To enrich this conversation, we spoke with seasoned New York-based art advisor Laura Solomon of Laura Solomon Fine Art who has worked closely with high-level collectors, designers, and artists for over three decades. Known for her strategic eye and collaborative spirit, Laura shares insights from her experience at the intersection of art and interior design.
Why Collectors Should Involve an Advisor Early
Many seasoned collectors already work with art advisors to help them build meaningful, valuable collections. But involving an advisor early in a design or renovation project especially in collaboration with a designer, adds a new layer of intentionality.
An advisor ensures that the artwork chosen reflects both the client’s collecting goals and the broader market context. Meanwhile, the designer helps integrate the piece into the space with precision and care. It’s not just about beauty, it’s about legacy, balance, and long-term vision.
“A successful collaboration comes from ongoing conversation; the designer drives the aesthetics, and the advisor understands how the art can greatly impact and elevate the space,” says Laura Solomon. Every acquisition reflects the clients’ individual vision. Having an advisor with interior design fluency adds tremendous value by blending that vision with that of the designer for maximum effect.
A Collector’s Home as a Curated Environment
The most successful private collections aren’t confined to galleries or storage. They live in the home, engaging with family and guests daily. Advisors help collectors shape interiors that feel personal and alive, without sacrificing the historical or market integrity of the artwork.
Whether it’s a masterwork that commands a room or a subtle piece meant to harmonize with natural textures and light, the collaborative process ensures the home becomes a living gallery, not a museum.
The Art of Emotional and Market Value
Every collector knows the dual tension of acquiring work they love and work that holds long-term value. Advisors navigate that space every day, filtering options through both a personal and professional lens.
In collaboration with a designer, that same filter is applied to the space itself. The result? Pieces that not only appreciate in value but feel right in situ, elevating the everyday experience of the collector. This is exactly the kind of insight offered by industry professionals featured on One Art Nation, where we highlight how to balance emotional and financial returns when collecting.
“Market value is always a factor, but the emotional connection comes first,” says Solomon. “Trends fluctuate and the constant must be the joy you get from living with the art you own.”
When Contemporary Art and Classical Spaces Collide
One exciting design approach gaining traction is using contemporary works in classically designed spaces. For instance, placing a bold, abstract piece in a Georgian-style home can spark a dialogue between past and present.
“In a client’s very traditional Music Room inside the historic McKim and White building, once home to the Guggenheim family, I installed Matisse’s Jazz portfolio of twenty works across all four walls,” says Solomon. “The explosion of color and movement completely transforms the space.”
This mix of eras and styles keeps a collection dynamic and offers a fresh take on both the artwork and its setting. Many advisors now encourage clients to think in contrasts where opposites attract to create visual intrigue and deeper appreciation.
Art in Commercial and Hospitality Projects
Collectors aren’t the only ones benefitting from this synergy. Corporate and hospitality environments are increasingly investing in fine art that reflects their brand ethos and clientele.
From boutique hotels that want to offer guests an immersive cultural experience, to law firms that want to project confidence and modernity, art plays a key role in shaping perception. Advisors who understand these nuances ensure every selection contributes to the space’s energy and purpose.
Art Placement: More Science Than You’d Think
Installing art isn’t just a matter of eye-level hanging, it’s a carefully orchestrated process. An advisor considers light exposure, scale, viewer experience, and security. The designer considers materials, textures, and spatial harmony.
Together, they create placement plans that elevate both the art and the space, while preserving the artwork for generations. It’s not uncommon for a work to completely transform once properly lit and framed within its environment.
“The importance of choosing art that supports a room’s function is often overlooked,” notes Solomon. “For bedrooms or studies, I select calm, contemplative works; for kitchens or offices, bright, energizing pieces.”
Art collecting is, at its heart, a long-term endeavor. By collaborating with advisors and designers, collectors can ensure that their spaces evolve alongside their collections, not in conflict with them.
That might mean planning for future acquisitions, building in flexibility for new media or larger works, or adapting a lighting system to handle rotating exhibitions. Advisors act as a strategic partner, not just a sourcing agent.
Designing a space without considering the art is a missed opportunity. Likewise, collecting art without planning its placement risks diminishing its power. When collectors work with both a designer and advisor in tandem, they benefit from dual expertise: one rooted in space, the other in substance.
This collaboration ensures that every choice from palette to purchase is aligned with a shared goal: to create a timeless, inspired environment that reflects the collector’s vision. At the end of the day, your interior is an extension of your collection—and your collection is a reflection of your values, interests, and identity. That’s why curating with care matters.
“A seasoned advisor can integrate new works seamlessly, sometimes by re-installing existing pieces,” she explains. “Clients love seeing their ‘old’ art in a fresh location to make room for new acquisitions.”
Advisors and designers who work closely together offer a holistic approach to collecting. It’s not just about what to buy, but how to live with it. How it feels. How it fits. And how it grows with you.
Final Thoughts
In the modern art world, collaboration is everything. The partnership between art advisors and designers doesn’t just create more beautiful homes, it creates smarter, more intentional collections. Whether you’re sourcing for a private residence, corporate headquarters, or luxury hotel, bringing these two disciplines together ensures your investment in art resonates far beyond the walls it hangs on.
To connect with art advisors, designers, and collectors shaping today’s most compelling interiors, visit One Art Nation, your global resource for art education, expertise, and community.
Having had John Wolfparticipate 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 Broadare 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.
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.
Nancy Gamboa
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.
Artwork placed; Carmen Herrera, Untitled Estructura (Green), 2007/2016, Acrylic and aluminium
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.
Barbara Guggenheimhas spent decades at the intersection of art, culture, and commerce, establishing herself as one of LA’s most influential art advisors. With her keen eye for emerging talent and understanding of historical importance and market dynamics, she has guided collectors, institutions, and artists through the complex landscape of contemporary art. From her early days working alongside legendary dealers to building her own advisory practice, Barbara has witnessed firsthand the transformation of the art world. So naturally, we were eager to chat with her!
In this conversation, we explore how her advisory approach has evolved alongside the art market’s transformations. Barbara shares insights on the most common pitfalls facing new collectors and delves into the notable shifts she’s observed in the next generation of collectors…….
1AN: With decades of experience advising some of the world’s most discerning collectors, how has your approach evolved as the art market itself has transformed from private gallery sales to auction houses and now online platforms?
Barbara Guggenheim: Keeping up with the changes in the art world and art market is a full-time job. You’d think that if you bought a work by an artist and that has the whole art world, curators, collectors, critics, and dealers, behind him or her you would have made a wise investment. Even if the prices break records, it doesn’t mean you’re safe. In a matter of months those prices can plummet, and the art world moves on to the next new artist. To avoid the pitfalls of following others off a cliff, and to navigate the serpentine ways of the art market, it makes sense to engage an art advisor.The little that they charge can save you from making mistakes and help you to make decisions from strength of knowledge.
1AN: Your book, Art World: The New Rules of the Game, is considered essential reading for collectors. If you had to update one “rule” today based on current market dynamics, what would it be and why?
Barbara Guggenheim: If there’s one rule, it’s to decide what your goal is. Some people buy for fun, and if you want to buy for fun, you have to define what your limit of “fun money” is. If you expect to make money, I doubt that the strategy of a quick return works as well now as it has in the past several years. You have to be willing to take a position and hold long term. Masterpieces have always appreciated over time, and I think that that’s the area where smart money is going now. Take Picasso for example, for decades he’s been an artist with a steady demand and large supply. That means that at any given time, a Picasso painting may come up at auction, like the one you’ve bought and, therefore, you don’t need to sell to know the value of your own Picasso. The same goes for Warhol, although I’m not sure his market will continue as it has since the younger generation of collectors don’t even know who Warhol’s major sitters were, such as Elizabeth Taylor. Since they’ve been brought up in the digital age, many don’t understand the significance of Warhol’s commentary on the printing techniques in his art.
When Art Becomes Your Life
1AN: For new collectors who may feel overwhelmed by the complexities of the art world, what are the most common pitfalls you help them avoid? And how do you build their confidence in making their first acquisitions?
Barbara Guggenheim: In acquiring art, you have to look everywhere and be ready to buy anywhere; galleries, private dealers, auction houses, and collectors. In the past few years, new buyers couldn’t just walk into a gallery cold and buy what they wanted. There were waiting lines for hot artists and the galleries could sell them to their longtime clients or established collectors. To get what they wanted, new buyers would have to turn to auctions. If you wanted something and others like you wanted the same work, a battle would ensue, and you’d likely have to pay more than gallery retail prices. That’s why private dealers have a place in the art world. Because they have relationships with collectors and get works that the owners don’t want to put up for auction and don’t want the art world to know they’re selling, they’re a good source. If you don’t know who they are, or which are reliable, working with an experienced art advisor cuts through all of that. It’s important to distinguish between an experienced art advisor and anyone who just hangs up a shingle and calls themself an art advisor.
1AN:Beyond the initial acquisition, what makes it essential for collectors to consider long-term care and strategy such as restoration, insurance, and resale, and how does Barbara Guggenheim Associates support clients throughout this full lifecycle?
Barbara Guggenheim: Lots of people buy works of living artists from the galleries which represent those artists. In that case, there’s no need to do any due diligence. Once a work surfaces again on the marketplace (called the secondary market), one must do the necessary due diligence like checking authenticity, condition and provenance if possible. You may be given a fact sheet that says a painting belonged to the Prince of so-and-so, that’s hard to verify. If possible, one has to compare what you’ve been given with the catalogue rasionné, or the people who’ve written the catalogue, or the artist’s principal dealer, to make sure the painting you’re buying matches historical records. A condition report must be made by a restorer who works on paintings like the one you’re considering. For example, a conservator who works on Old Master paintings, which often have considerable damage, may proclaim your Ellsworth Kelly with only one scratch in it as a work in good condition. By contrast, a restorer specializing in contemporary art will look at the same Kelly with the same scratch and will consider that the single scratch would render the painting in fair condition. That would persuade any prospective buyer not to buy the work.
1AN: In advising everyone from YPO members to multigenerational family offices, what notable shifts have emerged in how the next generation approaches collecting compared to their predecessors?
Barbara Guggenheim: There’s nothing like collecting and living with art to enhance your life. Collectors often start when they buy a new house and need paintings for empty walls. Others start with a wealth event or are parents who need to share something as a hobby. Believe it or not, art collecting has kept couples together more than anything I can think of! Living with art not only has a profound impact on collectors, but also their children who learn to share their parents’ passion. I’ve worked with lots of YPO parents, and then their children later. I’ve also spoken at many NextGen conferences and advised the children of collector parents to advise what to keep and what to sell when dealing with their parent’s estates.
The art world has always been a space where tradition meets innovation. On one side, collectors chase masterpieces with centuries of provenance. On the other, artists, advisors, and institutions continuously adopt new tools and technologies to remain relevant and responsive to a rapidly shifting cultural and economic landscape.
In 2025, the biggest technological shake-up to hit the art market is coming from artificial intelligence. At Art Basel 2025, the buzz wasn’t just around blue-chip sales, it was around AI-powered toolsthat promise to revolutionize how collectors make decisions. From instant pricing insights to data-driven authentication support, AI is positioning itself as the art collector’s new secret weapon.
What Is AI Actually Doing for Collectors?
Artificial intelligence in the art market primarily refers to the use of machine learning and big data to support collecting decisions. This includes tracking artist momentum, evaluating historical sales performance, and estimating value. Platforms such as Artrendex and Limna are offering real-time dashboards that help collectors evaluate artworks, identify under-the-radar talent, and compare pricing with an efficiency that would’ve been unthinkable just five years ago.
Let’s say you’re interested in acquiring a painting by an emerging artist who’s recently had shows in Berlin and Los Angeles. With AI, you can quickly review their auction performance, media coverage, gallery representation, and even stylistic comparisons to more established artists, all in a matter of seconds. These tools don’t just speed up the decision-making process, they bring a level of strategic rigor that many collectors find reassuring in a fast-paced, often opaque market.
Why Speed and Scale Matter More Than Ever
Collectors today are navigating a market where availability can disappear with a single phone call. In the past, advisors and clients had days, sometimes weeks, to decide on an acquisition. Now, hesitation can mean missing out altogether. AI helps collectors act faster with greater confidence. For new collectors in particular, it offers a sense of empowerment, allowing them to gain clarity and insight without relying solely on instinct or hearsay.
This isn’t just about convenience. It’s about building smarter collections. AI tools can spot trends, monitor price volatility, and even flag red flags in provenance records, all while collectors focus on curating works that resonate emotionally or conceptually. In this way, artificial intelligence is quickly becoming an essential part of the contemporary collector’s toolkit.
But Can AI Replace the Human Eye?
Despite all the advantages AI brings to the table, it’s important to recognize what it can’t do. Emotional intelligence, critical thinking, and aesthetic discernment remain the domain of experienced collectors, advisors, and curators. AI may be able to process millions of data points, but it can’t understand why a particular piece brings you joy or why a small brushstroke in a late-period painting might signal a shift in an artist’s thinking.
It also struggles with physical condition. Many AI systems rely on image recognition, but they can’t assess texture, surface quality, or subtle signs of restoration. Nor can they truly interpret cultural context or artistic intent. A powerful AI algorithm might be able to identify a trend, but it won’t grasp the emotional weight of a political piece created in response to a specific moment in history.
This is why most professionals see AI as an enhancement not a replacement. It’s a brilliant assistant, but not the curator.
Cracking Provenance with Machine Learning
One of the most compelling applications of AI in the art world lies in provenance research. By scanning databases, digitized catalogs, auction archives, and academic literature, AI can help map an artwork’s ownership history more quickly and thoroughly than ever before. For collectors buying on the secondary market, this kind of due diligence is invaluable.
However, even here, limitations exist. Not every record has been digitized, and private sales or transfers from earlier eras are often missing from publicly accessible databases. AI can identify patterns and fill in some blanks, but when key documents are tucked away in an old family archive or a dealer’s ledger from the 1960s, nothing replaces human research and relationships.
How Collectors Are Actually Using AI
More seasoned collectors are integrating AI into their overall collecting strategy, not as the ultimate authority, but as a way to add another layer of insight. It’s often used during the early stages of research, helping collectors narrow their options and focus on artists or works with momentum and value potential.
Some use AI to review their own collections—, potting patterns they hadn’t considered or uncovering new connections between artists, periods, or movements. Others rely on it for risk assessment, particularly when stepping into unfamiliar segments of the market. The key is in knowing where the data ends and where personal conviction begins.
Implications for Advisors, Galleries, and Auction Houses
Advisors are increasingly turning to AI platforms to support recommendations with hard data, particularly when working with clients who are analytically minded or investment-driven. Galleries are using AI to better price emerging talent and to prepare for increasingly sophisticated collectors who arrive with data in hand. Auction houses are even using AI tools internally to refine their sales strategies and estimate results.
For all of these players, the takeaway is the same: the art world is getting smarter. And collectors who embrace that shift while still trusting their instincts are likely to stay ahead.
Looking Forward: What’s Next for AI in Art?
The future of AI in the art world is bright and growing more sophisticated by the day. Expect to see more platforms integrating AI-powered valuation alongside blockchain-backed provenance. As the market continues to globalize, tools that can scan dozens of languages and international markets will become invaluable.
Predictive analytics may also play a greater role, offering forward-looking insights on artists’ trajectories based on exhibition history, press coverage, and collector behavior. And for those focused on building a long-term legacy, these insights will help shape portfolios that are both meaningful and resilient.
AI is not a silver bullet, but it is a powerful tool. For collectors looking to refine their decision-making, expand their knowledge base, and reduce risk, the right AI tools offer incredible value. But as with every major shift in the art world, the smartest collectors will strike a balance, leveraging technology while remaining grounded in personal intuition, emotional resonance, and expert human advice.
In the ever-evolving landscape of contemporary art, the right advisor can mean the difference between a good collection and a legacy-defining one. New York City, a global art capital, is home to some of the most trusted and visionary professionals in the field. These advisors don’t just facilitate acquisitions, they shape taste, preserve heritage, and bring nuance to collecting in a fast-paced, hyper-visual world.
From curating private exhibitions to navigating institutional relationships, they operate at the intersection of culture, commerce, and care. In this series, we sit down with five standout figures who are redefining what it means to guide, protect, and expand a collector’s vision. Through their insights, we gain access to the philosophies, values, and strategies shaping the collections of today and the legacies of tomorrow.
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ADVISING THE FUTURE: SHAPING CULTURE ONE COLLECTION AT A TIME
As we’ve seen through these intimate conversations, the art advisor’s role today goes far beyond transactions. It’s about vision. It’s about values. And most importantly, it’s about trust. The advisors featured in this series are not only shaping some of the most discerning collections in New York, they’re shaping the future of the art world itself.
Whether it’s through legacy preservation, market strategy, or cultural advocacy, their work reveals the deep responsibility behind every acquisition. In an industry built on both emotion and economics, these professionals ensure that art continues to inspire, educate, and endure for generations to come.
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.
Project: Tuxedo Park Manor Estate; Interior design: de la torre design; Photography: Peter Murdoch Photography; Published: Elle Decor, October 2009
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.
Project: Chelsea Loft; Interior design: de la torre design; Photography: LSFA
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.
Project: Central Park Skyscraper; Interior design: dhd Architecture & Interior Design; Photography: Jose Manuel Alorda; Published: Galerie Magazine, January 2024
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.
For art collectors, legacy planning is one of the most important, yet least discussed, aspects of building a collection. While many focus on acquiring beautiful works or securing investment-grade pieces, few consider what happens to their collection over time, especially after they’re no longer around to manage it. Legacy planning ensures your collection carries forward your values, tells your story, and continues to have cultural or philanthropic impact well into the future.
In this article, we explore why legacy planning matters, what collectors often overlook, and how to start the process with confidence. To better understand the nuances of this process, we requested the expertise of Nina Kong-Surtees, Founder and Chief Art Legacy Advisor of smART Advisory. With a background that blends curation, technology, and cultural stewardship, Nina helps collectors craft legacy strategies that reflect not only their taste but their vision for the future.
Why Art Legacy Planning Matters
Art collections are more than just a group of objects; they are living representations of the collector’s identity, passion, and purpose. Legacy planning offers a framework for turning a personal collection into a cultural contribution. Without thoughtful planning, even the most significant collections can lose context, fall into disrepair, or become a burden for heirs.
Art can also be a vital part of your estate. Whether it’s passed on to family, donated to an institution, or sold to fund philanthropic efforts, a plan allows you to control the narrative. It’s not just about what’s being left behind, but how.
As Nina Kong-Surtees explains, “I ask collectors to take a pause from the market lens and consider the emotional one. I begin by asking a simple but powerful question: What drew you to these works in the first place? Often, it opens up deeper stories, memories of travel, relationships they built with artists, or a desire to support a specific movement or identity. We then trace patterns in what they’ve collected over time. These aren’t just acquisitions, they’re expressions of worldview, aesthetics, and often, a quiet rebellion against the status quo. Helping collectors define their values isn’t about turning art into checkboxes, rather turning emotion into intention. Once that clarity emerges, it becomes the guiding star for their legacy.”
What Most Art Collectors Overlook
While much energy goes into acquiring art, legacy planning is often an afterthought. Critical components such as documentation, provenance, condition reports, and artist correspondence are frequently neglected. These are the elements that preserve not just the value but the historical and cultural integrity of a collection. Invisible threads like provenance and documentation are what hold a collection together. Without them, works can lose their meaning and their value.
Another critical but often overlooked area is succession planning. Who will take care of the collection? What happens if heirs aren’t interested or equipped to manage it? Planning for stewardship whether through family, institutions, or charitable foundations ensures that your intentions are carried out.
As Nina Kong-Surtees puts it, helping collectors define those values starts with understanding their personal connection to the work: “Legacy doesn’t begin at the end, it’s shaped throughout the collecting journey. I guide collectors to see their holdings not just as assets, but as a reflection of their beliefs and hopes for the future. When those intentions are clarified, they can choose pathways, be it institutional partnerships, family involvement, or public access, that feel authentic and lasting.”
Collectors sometimes assume that museums or galleries will readily accept a donation, but without the proper groundwork, condition reporting, appraisals, and an articulated curatorial rationale, institutions may decline the gift.
Nina Kong-Surtees often sees this disconnect firsthand. “One common pitfall,” she notes, “is assuming that a museum’s ‘yes’ is unconditional. Even well-intentioned gifts can be declined, redirected, or deaccessioned later if they don’t fit the institution’s evolving focus. I help collectors understand that it’s not just about offering a work, it’s about understanding what the institution values, how decisions are made, and who needs to be at the table. When collectors approach gifting with openness and patience, it shifts from a transactional mindset to one of partnership.”
Planning Tools and Art Legacy Advisors
Legacy planning isn’t a solo endeavor. It involves collaboration between estate attorneys, appraisers, art advisors, and sometimes, an art legacy advisor. While traditional art advisors may focus on acquisitions and investment potential, legacy advisors provide a more holistic approach. They collectors articulate and activate the ‘why’ behind their collection. That means integrating creative vision with practical steps whether it’s preparing for a museum loan, making a donation, or educating the next generation.
As Nina Kong-Surtees explains, collaboration is key: “Legacy planning isn’t done in a vacuum. I regularly partner with estate lawyers, tax professionals, and museum staff to make sure we’re all pulling in the same direction. My role is to keep the collector’s vision front and center while translating that vision into terms each stakeholder understands. When everyone brings their expertise to the table with shared clarity and respect, the plan becomes more resilient, and more meaningful.”
Thinking Beyond the Home
Planning for the future of your collection also means considering where it will live. Will it be donated to an institution? Loaned for exhibitions? Stored for posterity? A legacy plan can include strategic gifting, charitable donations, or even setting up a private foundation. Collectors today are exploring more dynamic possibilities, including art residencies, traveling exhibitions, and partnerships with community organizations. These models not only preserve the work but continue the collector’s mission.
Nina Kong-Surtees shares one such example: “One collector I worked with transformed part of their home into a rotating residency and discussion space, not just for artists, but for activists and educators. The idea wasn’t to build a static foundation, but to create a living platform for dialogue. The collection became the backdrop for conversations on identity, justice, and belonging. That kind of placement isn’t listed in a handbook, it emerges from understanding what the collector really wants to say with their legacy, and then building structures that make it possible.”
The Evolving Role of Women in Legacy Building
Women are playing an increasingly powerful role in shaping the future of art collecting and how collections are preserved. With a focus on inclusivity, education, and cultural impact, more women are collecting with intention and planning for the long term. Legacy planning can be especially empowering for women, helping them step into their role as cultural stewards with clarity and confidence.
Nina Kong-Surtees sees this as a powerful shift, and says “for many women I work with, legacy planning becomes a tool for visibility and voice. It’s not only about securing what they’ve built. It’s about amplifying what matters to them. I’ve seen women establish curatorial fellowships, create mentorship pipelines, and intentionally support spaces where their values, equity, access, representation, can live on. It’s a way of saying: I was here, I made an impact, and I want that impact to keep resonating.”
How to Get Started
Legacy planning doesn’t require a massive collection or a museum-worthy archive. It starts with asking the right questions:
What do I want my collection to say about me?
Who should benefit from it?
How can I ensure it’s preserved, understood, and appreciated?
Begin by documenting your collection thoroughly. Engage with professionals who can help with valuation, conservation, and legal planning. Most importantly, make your wishes known. Legacy planning is a long-term conversation and the earlier you start, the more options you have and the more intentional your impact can be.
Nina Kong-Surtees advises starting with simplicity, and stated “when collectors feel overwhelmed, I remind them that they don’t need all the answers at once. Start with a single conversation, with yourself. Ask: What do I want this collection to say? That one question can unlock so much clarity. From there, it’s easier to identify the right collaborators and next steps. Legacy isn’t a checklist, it’s a series of thoughtful decisions that grow from knowing your own story.”
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?
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.
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 movementthat 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 Museumfurther 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.
Our radar is always open for professional women in leadership positions in the visual arts. So, it’s no wonder Natasha Schlesinger landed on it. She is an award-winning art historian, art advisor and curator with a start in working at art galleries in New York and London. She continued as a specialist at Christie’s auction house in New York and has since lectured both at Christie’s and Sotheby’s.
Natasha founded Artmuse to provide art guidance, curation and advisory services to private and corporate clients as well as collaborations with brands. She has served as the Art Curator of The Surrey Hotel where she was instrumental in conceiving and curating successful exhibitions connecting The Surrey’s own permanent art collection to the most relevant themes in contemporary art. And having worked in the art field for over 25 years, naturally, we determined there’s so much yet to know about Natasha. Here’s what we found out…
1AN: Let’s start from the beginning. Your career began in European furniture and decorative arts before transitioning into contemporary art advisory and curation. How has your background in historical art forms influenced your approach to contemporary collecting and curation?
Even though I would never have devised a plan for myself to study pre-20th century art forms and history only to go on to become a contemporary art advisor and curator, my background has given me the kind of depth of knowledge that is impossible to obtain if only focusing on modern and contemporary art. In addition, contemporary art today is in a very dynamic conversation with the masters of the past and it is imperative for an art advisor to understand that and to educate the general public and collectors alike so that their collecting choices become more interesting and mindful.
1AN: Speaking of interesting and mindful collections, you are co-curating an exhibition this summer at the Southampton Arts Center, featuring Christine Mack’s private collection. How do you approach curating a private collection for public viewing, and what excites you most about this particular project?
This is a first time that I will be able to partake in presenting a collection I helped to build to the public and it is indeed a very exciting prospect. But, as with any public curation, this is not just about putting as many artworks on display as possible, it is about telling a story, a point of view that best reflects and represents the collector who inspired the exhibition. I am working with the South Hamptons Arts Center curator and with Christine Mack to come up with the best way to lay out the art, to create groupings that speak to one another and reinforce each other. Because the collection is so focused on emerging artists and, in particular, on women artists, we will of course emphasize that. It is a very exciting project. It is also wonderful, because we begin with Christine’s mother-in-law Phyllis Mack, who began collecting in the 80s and has directly inspired Christine’s own collecting passion.
1AN: So, how do you balance your curatorial projects with your work as an advisor to private and corporate collectors? Do you find that these roles influence and enrich one another?
Being an advisor is also being a curator of sorts to each and every client. It is always about building a story through art, responding to each individual collector’s taste, budget, space aesthetic and other factors. I love that each project offers a new and unique approach for my advisory and that is where my curatorial experience and expertise comes in handy. I also have a guidance program, where I take collector groups around to galleries and museums so there is an educational component that also comes to play a role for what I do. All of these facets intertwine to give me a broader and more enriched perspective of contemporary art and of my clients.
1AN: You are currently producing ArtMuse the Series with your husband, filmmaker Adam Schlesinger. How has this project allowed you to explore your expertise from a fresh perspective, and what do you hope audiences will take away from the series?
Yes, this is my newest project and I am so excited about it! I have conceived and am now in the midst of producing this new Art series with my husband, who is an award-winning documentary filmmaker. We have filmed at artists’ studios and galleries. It’s a behind-the-scenes look at the artists’ creative process and an informal, unscripted opportunity to take viewers through current art shows at galleries in New York. We would like to keep developing the concept further and hope that viewers who cannot visit galleries or artists’ studios in person will tune in and follow us and enjoy the viewing experience. We would love for it to be picked up by a larger program and to develop it further.
1AN: We would love to see that too! With over 25 years in the art world, what emerging trends excite you the most in terms of collecting, curation, and the broader evolution of the art market?
There are so many exciting trends going on right now and for the past 5-10 years. I will try and name just two that I am interested in and am encouraging others to reflect upon. One, of course, is the role of women artists in the contemporary art world. Women artists now make up an ever-growing percentage on the contemporary arena. From young, emerging women artists to re-assessed or re-discovered women artists overlooked in their own time, the time is ripe for women artists to be seen on par with their male counterparts, for their prices to equal those of the men and for a much deeper representation of women artists at institutions not just private collections. Another welcome evolution of the contemporary art world has been the blurring of any material boundaries separating the fine from the decorative fields. It is notable that even the most blue-chip mega galleries now represent artists working across many disciplines and mediums that now include ceramics, textiles, and glass.
As fans of the ArtTactic Podcast, we figured it was finally time to get to know the man behind all those interviews. Aside from hosting the Podcast, we also know him as the founder of Adam Green Art Advisory, offering comprehensive, tailored services to support collectors at every stage of their journey. But with more than 15 years of experience in the art world, there is surely so much more to learn about Adam.
So now, after years of listening to him interview influential art market figures on everything from general topics about the global art industry to art investing, it’s his turn to be interviewed.
1AN: Your career began at Christie’s before launching your own advisory firm. What insights from your time at the auction house have shaped your approach to advising collectors today?
Adam Green: My time at Christie’s was foundational in shaping how I approach art advising today. Working at one of the world’s leading auction houses for nearly a decade provided an unparalleled education. I gained firsthand experience analyzing market trends and navigating the complexities of pricing, demand, and collector behavior. Being immersed in this environment sharpened my ability to assess market conditions, identify opportunities, and strategically guide acquisitions and sales.
One of the most valuable aspects of my time at Christie’s was learning how to operate within the art market in a professional and ethical way. The art market is largely unregulated, which means that standards and best practices can vary widely. However, at Christie’s, I was trained to prioritize transparency, due diligence, and integrity. This foundation has been invaluable in my own advisory practice, ensuring that my clients acquire great works with confidence and clarity. If any potential issues arise, I am able to identify and address them before they become a problem.
Another crucial aspect of working at an auction house was the opportunity to build relationships with a vast network of individuals across the industry. An auction house is one of the largest employers in the art world, and many of my former colleagues have since gone on to make significant contributions across the industry. Because of this, I now have an extensive network that keeps me deeply connected within the art market. These relationships are essential in my role as an advisor, whether I am sourcing works for clients, conducting due diligence, or staying ahead of market trends.
Ultimately, my experience at Christie’s gave me both the market expertise and the ethical framework to operate at the highest level. I take pride in working hard, being strategic, and advising clients in a way that aligns with their goals while upholding the standards I learned at one of the most respected institutions in the industry.
1AN: Speaking of aligning clients with their collecting goals, you specialize in sourcing investment-quality post-war and contemporary art. How do you guide collectors in striking the right balance between acquiring works for financial appreciation versus personal passion?
Adam Green: I help clients acquire artworks for their collections in three key ways. First, I facilitate acquisitions on the primary market, leveraging my relationships with galleries to secure high-quality examples by artists we are interested in. Second, I broker private transactions, utilizing my network to identify and secure examples that are not publicly available for sale. Third, I assist clients in acquiring works at auction, advising them on bidding strategies, valuations, and how to approach competitive sales effectively. In each case, I work collaboratively with my clients, evaluating the quality of each work within the artist’s practice and considering how it fits within their collection.
When it comes to balancing personal passion with investment potential, all of my clients care about both. Given the financial scale of these acquisitions, it is important to ensure that the work holds real value. This involves assessing demand, understanding the trajectory of the artist’s career, and ensuring that their market is supported by strong institutional and collector interest. I consider several factors, including whether museum curators are engaged with the artist’s work, whether the artist’s gallery is managing their career effectively to ensure long-term success, and whether respected collectors are invested in their market.
At the same time, my clients collect because they are passionate about art. They enjoy living with the works they acquire and many of my clients take great pleasure in engaging with the artists they collect, supporting their careers, and building meaningful relationships with galleries. They also appreciate the experience of attending openings, fairs, and museum exhibitions. Collecting is not just a financial endeavor for them, but rather a deeply rewarding experience that allows them to participate in and contribute to the cultural conversation. My role is to help them navigate this world with confidence, ensuring that they acquire works that align with their collecting goals while also making informed and strategic decisions.
1AN: Makes perfect sense! And how about this shift with growing access to online platforms and direct sales from artists? How has this affected the value of an art advisor, if at all? If your role has evolved as a result, please explain how.
Adam Green: The rise of online platforms, including social media like Instagram and various ecommerce websites, has been beneficial to the art world. Historically, the art market has been opaque and difficult to access. Now, with so much visibility online, the market has become far more accessible, particularly for newer collectors. Also, collectors are able to educate themselves more easily by engaging with a vast amount of art digitally. While nothing compares to the experience of seeing art in person, the ability to discover and follow artists, track trends, and engage with artists from anywhere in the world has transformed how people collect.
As an advisor, this shift has enhanced my role rather than diminished its value. My process with my clients is very collaborative and with collectors having greater exposure to art through social media and online platforms, many of my clients share discoveries with me, whether it is an artist they came across or a work they find compelling. My role has evolved to help filter and contextualize this wealth of information, ensuring that my clients focus on the right opportunities, assess quality effectively, and acquire works that align with their collections.
Regarding direct acquisitions from artists, I typically do not acquire works directly from artists. While there are occasional exceptions, such as working with artists who are not yet represented or who are in transition between representation, the vast majority of the artists I pursue work with one or, in many cases, multiple galleries. These artists rely on their galleries to manage their sales, relationships with collectors, and long-term career development.
1AN: OK, I also wanted to ask you about the ArtTactic Podcast. As the host, you’ve had in-depth conversations with key players across the industry. What are the most compelling trends shaping the post-war and contemporary art market right now?
Adam Green: I have been hosting the ArtTactic Podcast since 2009, making it one of the longest-running podcasts dedicated to the art market. My interest in podcasts began while I was studying at the Sotheby’s Institute of Art in London in 2007. Living abroad, I relied on podcasts to stay updated on American sports. When I entered the art market professionally in 2008, in the midst of a recession, I wanted deeper conversations with industry professionals, beyond the short, self-serving quotes often found in news articles. This led me to launch the ArtTactic Podcast, where I have since interviewed thousands of figures across the art world, including gallerists, artists, curators, and auction house executives.
One of the most significant trends shaping the market today is the impact of online platforms, particularly Instagram. Social media has made the art world more accessible, transforming how collectors discover and engage with art while also influencing how artists present themselves and their work. Another major conversation in the industry is the debate around art fairs. The growing number of fairs has led to increasing discussions about their necessity and sustainability. While fairs remain critical for galleries to connect with collectors, the financial and logistical burdens have caused galleries to be more selective about which fairs they participate in. Another trend over the past several years is the art market’s expanding geographic reach. New markets in India, China, Japan, Saudi Arabia, and others are emerging as key players. These regions are investing heavily in museums, biennials, and fairs, attracting international galleries and collectors while strengthening their own local art scenes.
1AN: Clearly, you’ve built ArtTactic into a leading platform for art market discussions. How has hosting the podcast influenced your work as an advisor, and what have been some of the most surprising insights from your interviews?
Adam Green: Hosting the ArtTactic Podcast has had a profound impact on my work as an art advisor. Over the years, I have developed relationships with a wide range of people in the art world, both through my guests and listeners. My guests, including gallerists, artists, curators, collectors, and auction house executives, have provided valuable insights that inform how I help my clients navigate the market. Beyond my guests, the podcast has allowed me to connect with listeners from around the world, including collectors, industry professionals, artists, and enthusiasts.
Additionally, hosting the podcast has helped establish me as a knowledgeable voice in the art market. While that was never my original intent, these conversations have contributed to my visibility as an advisor and strengthened my brand. The podcast has allowed me to engage with the broader art community and build trust with collectors and industry professionals who value expertise and transparency.
One of the most surprising insights I have taken away from these conversations is how much the art market is still built on relationships. Despite advances in technology and data, personal connections and trust remain at the core of how the industry operates. Ultimately, hosting the podcast has reinforced the importance of staying engaged with the broader art ecosystem. It has allowed me to maintain strong relationships, stay ahead of market developments, and ensure that I bring both expertise and a broad perspective to my clients.
The global art market is no longer dominated solely by traditional power centers like New York, London, and Paris. New regions including India, China, Japan, Saudi Arabia, and others are stepping onto the world stage as major players, thanks to significant investment in cultural infrastructure. These countries are building museums, launching biennials, and expanding art fairs that draw international galleries and collectors, while fostering robust local art scenes.
The Rise of Asia in the Global Art Market
Asia’s presence in the art world has surged over the past decade. Economic growth, combined with national pride and global ambitions, has motivated countries like China and Japan to heavily invest in the arts. As a result, these countries are becoming cultural destinations in their own right.
China’s Cultural Renaissance
China leads the way with a thriving art ecosystem. Cities like Beijing and Shanghai are now home to world-class institutions, including the Ullens Center for Contemporary Art and the Power Station of Art. With the government’s focus on building cultural “soft power,” China has consistently ranked as one of the top three global art markets. Its auction houses, such as China Guardian and Poly Auction, are now direct competitors to Western institutions.
Japan’s Art Market Resurgence
Japan’s art market has made a notable comeback, growing 11% since 2019, outpacing global averages. This resurgence is fueled by contemporary artists like Yayoi Kusama and the success of events like Art Fair Tokyo. Japan is also benefiting from a shift in regional buying power, with more Asian collectors investing in domestic and international art.
India’s Emerging Art Scene
India’s modern and contemporary art scene is expanding rapidly. Initiatives like the India Art Fair and the Kochi-Muziris Biennale are not only attracting international attention but also helping Indian collectors and artists gain a stronger foothold on the world stage. Indian modernists such as M.F. Husain and contemporary talents like Bharti Kher are fetching increasing sums at auctions.
Saudi Arabia’s Bold Cultural Vision
Saudi Arabia is making headlines with its ambitious Vision 2030 plan, which includes investing billions into arts and culture. The Kingdom has already launched the Jeddah Islamic Arts Biennale and Desert X AlUla, attracting global institutions like Christie’s and Sotheby’s to the region. Saudi’s push to become a cultural hub is driving collector interest and reshaping the Middle Eastern art market.
The Proliferation of Biennials, Art Fairs & International Galleries
Biennials and art fairs act as cultural and economic catalysts. Events like the Gwangju Biennale (South Korea), Art Basel Hong Kong, and Abu Dhabi Art Fair bring together international curators, galleries, and collectors. These platforms have helped local artists from emerging markets access global networks and buyers.
Major Western galleries like Gagosian and Pace are setting up outposts in cities such as Seoul and Hong Kong. This trend not only validates the importance of these markets but also fosters collaboration between international dealers and local artists.
Public-private partnerships are driving much of this growth. Governments are building museums and public art programs, while private collectors are establishing foundations and exhibition spaces that elevate their country’s cultural profile.
Shifting Collector Demographics
Emerging markets are fueling the rise of a dynamic and diverse new wave of collectors. Many of these individuals come from younger generations, Millennials and Gen Z, who are tech-savvy, entrepreneurial, and globally connected. Unlike traditional collectors who often focus on blue-chip or historical works, these new buyers are more inclined to support contemporary, experimental, and digital art, including NFTs and other blockchain-based works.
In countries like China, India, and Saudi Arabia, a growing middle and upper-middle class is channeling newfound wealth into art acquisition. These collectors often use online platforms and social media to discover and purchase artworks, giving rise to a more democratized and borderless art market. Their influence is shaping both global trends and local markets, pushing galleries and auction houses to diversify their offerings and marketing strategies.
Additionally, these collectors are increasingly conscious of social, political, and environmental issues, favoring works that align with their values and cultural identity. This demographic shift is fostering a demand for artists who tackle topics like sustainability, identity, and social justice, further broadening the scope of what is considered desirable and valuable in the global art market.
Final Thoughts
The globalization of the art market is redefining where cultural influence resides. Emerging regions are not just following trends, they’re setting them. As art collectors and professionals look to navigate these shifts, staying informed about developments in Asia and the Middle East is crucial.
Art has long been celebrated for its aesthetic and emotional impact. In dental and medical offices, art serves more than a decorative role. It fosters healing, reduces anxiety, and enhances the patient experience. This transformative power is rooted in how art interacts with human psychology, contributing to a calming and supportive environment.
Why Art Matters in Dental & Medical Settings
The sterile and clinical nature of healthcare environments can increase patient stress. Introducing art into these spaces creates a welcoming atmosphere and can alleviate patient anxiety. Joanne Cohen, a dedicated arts advocate, curator, collector, advisor, and former executive director of the Art Program at Cleveland Clinic and a key member of Museum Exchange, emphasizes the profound impact of art in medical settings.
“Various studies have shown that art in the healthcare setting has a positive impact on mood, stress, and comfort levels,” says Cohen. “At Cleveland Clinic, my colleagues in the Art Program authored a study published in the HERD Journal, demonstrating that art significantly improved patient experiences.”
The Psychological Benefits of Art
Anxiety is common among patients. Visual stimuli such as calming landscapes, abstract designs, or nature photography can help reduce fear and stress. Art encourages positive emotional responses, fostering a tranquil setting that supports both mental and physical well-being.
According to Cohen, “In the study conducted at Cleveland Clinic with 826 qualified respondents, 72% of respondents reported that their mood was somewhat or significantly improved by the art collection. Patients staying for two to three days reported even higher levels of improvement, reaching 91%.”
Art in dental and medical spaces offers numerous advantages:
Positive Distractions: Art diverts attention from medical procedures.
Staff Well-being: Aesthetically pleasing spaces boost morale and productivity among healthcare professionals.
Cohen further explains that specific patient groups, including those with PTSD, Generalized Anxiety, and Breast Cancer, found art especially beneficial. “The highest positive response came from the PTSD group, where 81% reported improvements in mood, stress, and comfort levels due to the art collection.”
How Art Enhances Healing Environments
Research indicates that art can influence healing by reducing cortisol levels and improving mood. Patients surrounded by comforting visuals often report faster recovery rates and lower pain perception. Art engages the mind, offering mental escapes during stressful dental and medical visits and stays.
“Of the qualified respondents at Cleveland Clinic, 39% said that the art affected their comfort or pain level, with the highest positive responses among those with PTSD, Osteoarthritis, and Generalized Anxiety,” Cohen notes. Additionally, 78% of all respondents stated that their overall impression of the clinic was positively impacted by the presence of art.
When selecting art for healthcare environments, consider pieces that evoke calmness and positivity. Nature-themed artwork, abstract designs with gentle colors, and culturally sensitive pieces are ideal. Avoid chaotic or overly stimulating visuals that might provoke discomfort.
Art Styles That Work Well in Dental & Medical Settings
Nature Landscapes: Forests, oceans, and serene outdoor scenes promote relaxation.
Abstract Art: Soft color palettes and fluid shapes encourage a peaceful mindset.
Photography: High-quality images of nature or urban tranquility can be soothing.
Local Art: Featuring local artists fosters community connection and cultural relevance.
Many healthcare facilities report positive outcomes from art integration. For example, pediatric clinics featuring colorful murals experience reduced anxiety in young patients. Dental offices with serene landscape photography see improved patient feedback on comfort levels.
The Role of Color Psychology in Healthcare Art
Blues and Greens: Promote calmness and reduce stress.
Warm Neutrals: Create a cozy, welcoming environment.
Soft Yellows: Uplift moods without overwhelming the senses.
Choosing the right color palette enhances the therapeutic effect of the artwork.
Art as a Conversation Starter
Artwork in healthcare offices and facilities often sparks conversations, helping build rapport between healthcare providers and patients. This humanizes the clinical experience, creating connections that contribute to patient trust and comfort.
Investing in art can also have economic benefits. Enhanced patient satisfaction can lead to positive reviews and increased referrals. A well-designed space reflects professionalism, potentially attracting more clientele and boosting retention rates.
Future Trends: Digital and Interactive Art in Healthcare Offices
Emerging trends include digital art installations and interactive pieces. Digital screens can display rotating art collections, while interactive elements engage patients, especially in pediatric settings. This dynamic approach keeps environments stimulating and modern.
Art as a Healing Partner
Art is more than decoration; it’s a vital element in healthcare environments. Its ability to comfort, inspire, and heal makes it an essential consideration for medical and dental offices aiming to enhance patient care. Thoughtful art integration transforms clinical spaces into welcoming sanctuaries that support well-being for both patients and staff.
“61% of all respondents in our study said that viewing the art collection at Cleveland Clinic improved their overall satisfaction with their experience,” Cohen highlights. “For those with PTSD and Generalized Anxiety, that number rose to about 90%.”
By embracing the power of art, healthcare providers can create environments that nurture the mind and body, proving that art truly is a powerful partner in the journey toward health and healing.
Toronto’s art scene is thriving, and its thanks in no small part to art advisors like Kelly Juhasz, Sharon London Liss, Marla Wasser, Laura Mann and Katlin Rogers. Whether you’re a seasoned collector looking to refine your collection, a first-time buyer dipping your toes into the market, or someone planning the legacy of an art estate, these five Toronto art advisors are the ones you want by your side!
Their expertise doesn’t just stop at market knowledge. It’s their passion for connecting people with meaningful works of art, their dedication to preserving cultural legacies and their ability to guide collectors with both care and confidence. If you’re lucky enough to work with one of them, you’ll quickly understand why they’re trusted by collectors, estates and institutions alike.
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Step Into the Art World with Confidence
Aspiring art advisors and collectors seeking expert guidance can look to these professionals, who exemplify the knowledge, passion, and dedication that define excellence in the field. At One Art Nation, we’re committed to nurturing the next generation of art advisors and connecting collectors with trusted experts. Explore our Art Advisory programs to gain the skills you need to thrive in this dynamic industry—or to find the perfect advisor to help you navigate the art world with confidence and creativity. The art world is waiting, and we’re here to help you step into it.
The Devastation of Wildfires on the Art World in Los Angeles
Wildfires have once again swept through Los Angeles, leaving a trail of destruction in their wake. This time, the damage extends beyond homes and natural landscapes, touching the art world in deeply unsettling ways. Galleries, museums, and private collectors have all been affected, raising urgent questions about how to protect cherished artworks in the face of such unpredictable disasters.
How Are Art Museums and Galleries Coping with Wildfires?
Institutions in Los Angeles, home to world-renowned museums and galleries, have not been spared. Some have faced temporary closures due to smoke damage and power outages. Others have had to evacuate priceless collections to safer locations—a monumental task requiring coordination, expertise, and immense care. For instance, The Getty Center, known for its fire-resistant architecture, became a focal point of attention, showcasing how design can protect cultural assets.
Why Wildfires Are a Wake-Up Call for Collectors
For private collectors, these events serve as a wake-up call. Many are now re-evaluating their preparedness:
Storage Conditions: Are your pieces stored in a fire-resistant environment?
Insurance Coverage: Does your policy adequately reflect the value of your collection?
Emergency Plans: Do you have a strategy to quickly move or protect your artworks?
These are questions that every collector should be asking, not just in wildfire-prone areas but anywhere climate-related disasters could strike.
Art in the Crosshairs of Climate Disasters
The recent wildfires have reminded us that art, while timeless in spirit, is often fragile in form. For collectors, these fires are a stark reminder of the vulnerability of their pieces. From paintings and sculptures to rare artifacts, the risk is real and growing. Beyond the physical damage, there is also the emotional toll—seeing a treasured collection reduced to ash is heartbreaking.
The Emotional Toll of on Art Lovers
Art often holds deep personal meaning. It’s not just about the monetary value; it’s about the memories, stories, and emotions tied to each piece. The loss of art in a wildfire can feel like losing a part of oneself. This emotional impact is something we must acknowledge as we discuss the practical steps to safeguard collections.
What Can Be Done to Protect Art Against Wildfires?
While no plan is foolproof, there are ways to mitigate the risks:
Invest in Fire-Resistant Storage: Fireproof safes or climate-controlled vaults are essential for safeguarding smaller and more fragile pieces.
Upgrade Security Systems: Advanced systems can monitor for smoke, temperature changes, and other early warning signs.
Digital Backups: Document your collection thoroughly. High-resolution photographs, receipts, and detailed records can be invaluable for insurance claims or restoration efforts.
Work With Experts: Consult art preservationists, climate risk consultants, and insurance specialists to develop a comprehensive protection plan.
Real Stories: Lessons From Past Disasters
The art world has faced similar challenges before. During Hurricane Sandy, for example, many galleries in New York’s Chelsea district experienced devastating flooding. Some institutions learned the hard way about the importance of elevated storage and digital backups. These lessons are now shaping how galleries and collectors respond to future disasters, including wildfires.
The Role of Community Support
One silver lining in these difficult times has been the outpouring of support from the art community. Galleries have offered temporary storage to at-risk collections, while organizations like CERF+ (Craft Emergency Relief Fund) have stepped in to provide financial and logistical assistance. These efforts show the strength and solidarity of the art world in the face of adversity.
Long-Term Solutions for Art Protection
The wildfires in Los Angeles have highlighted a broader trend: the intersection of art and climate change. To protect art in the long term, both collectors and institutions need to think beyond immediate measures:
Invest in Resilient Infrastructure: Fire-resistant materials, better ventilation systems, and sustainable energy sources can mitigate risks.
Develop Collaborative Networks: Regional coalitions of galleries and collectors can pool resources for emergency response.
Support Research and Advocacy: Funding research into climate-resilient preservation techniques will benefit the entire art community.
Art as a Beacon of Hope
As we process the impact of the recent wildfires, it’s important to approach the situation with both compassion and action. For those directly affected, the path to recovery will take time and support. For the broader community, now is the time to reflect, learn, and prepare.
Even in the aftermath of devastation, art continues to inspire and unite us. It’s a testament to human creativity and resilience. By taking steps to protect our collections and supporting those affected, we ensure that art remains a vital part of our lives—a beacon of hope in even the darkest times.
