What Did the ARTnews Top 200 Collectors Buy in 2025?

“The goal is not accumulation,” Ariel Marcelo Aisiks, a new addition to this year’s list, told ARTnews about his collection. That didn’t stop him from acquiring an archive of some 300 drawings by David Lamelas, including Interview with Marguerite Duras (1970). “It’s about contributing to greater visibility for artists like Lamelas, who helped shape conceptual art globally.” 

The Institute for Studies on Latin American Art, which Aisiks founded in 2011, recently mounted an exhibition for Magali Lara. “Seeing her work presented in New York—quiet, powerful, and resonant—was a reminder of what collecting can enable,” he said. Additional acquisitions include Lara’s New York (1978) and Luego lo lavo (1984). 

For his São Paulo–based collection, Pedro Barbosa added works by artists whom he’s long collected: Sung Tieu’s newsprint fashion Read Me, Wear Me, Fear Me (2025) and Carolyn Lazard’s Fiction Contract (2025), which recently showed at Artists Space in New York.

Allison and Larry Berg often wait to encounter the right work by an artist. That was the case with Derek Fordjour’s S.C.A. (Self Care Academy), 2025, and a mosaic work, Untitled Broken Men (2023), by Rashid Johnson, whose work they’ve collected since 2013. “It gives us joy to support Rashid’s practice not only because he is a magnificent creator and storyteller but because he places significant resources back into the entire ecosystem himself,” they said. 

Another acquisition, Head C (1975), is by Madhvi Parekh, an artist they learned about during a recent trip to New Delhi. “We were admittedly drawn to both the work and the woman. She is a total bad ass—a self-educated, prolific maker while raising her family,” they said.  

Recent acquisitions by Anita Blanchard and Martin Nesbitt include works by Toyin Ojih Odutola and Simone Leigh. After seeing Ojih Odutola’s current solo show at the Hamburger Bahnhof, the couple purchased Routine Inspection II (2019), a pastel-and-charcoal work that featured in the exhibition. Another purchase is Leigh’s 2023 sculpture Herm, which depicts an armless woman. “We installed this sculpture in our front yard only a few blocks from where Simone went to high school in Chicago,” Blanchard told ARTnews. “Traditionally Herm symbolizes Hermes the mythical god of travel and good luck. This installation allows anyone to be inspired by Simone’s work in their daily travels without going to a museum or gallery.”  

Recent purchases by James Keith “JK” Brown and Eric Diefenbach include works by Rodolfo Abularach, Wanda Pimental, Salman Toor, Stipan Tadic, and Ruth Wolf-Rehfeld, as well as Carolina Caycedo’s Sky Colors at Sunset (2025). 

Recent acquisitions by Joop van Caldenborgh include a pair of sculptures of a woman and a man by Ed Templeton, titled Green Girl / Peace Sign Tattoo Girl (2024) and Businessman / Goth Man (2024), whose mouths emit snakelike speech bubbles. Other purchases include works by Sarah Morris, Harold Ancart, Dhewadi Hadjab, and Filip Gilissen. 

A major purchase by Patrick Collins this past year was Sturtevant’s Elastic Tango (2010), which he called “one of the great works of the 21st century,” adding that the work’s “editing perfectly articulates the thinking [behind it]; the sensorial quality is also its cerebral heft.” Another addition is Emily Kam Kngwarray’s Big Yam Dreaming (1994). “There is the formal innovation which is beyond language, it just arrests you,” he said of the piece. 

Over the past year, Eduardo F. Costantini has deepened his holdings of artists like Leonora Carrington, buying her 1951 sculpture La Grande Dame and her 1945 painting Las distracciones de Dagoberto, for the latter of which he paid $11.3 million after an extended bidding war at Sotheby’s. 

Basel Dalloul bought around three dozen works in the past 12 months, a mix of historical pieces by Habuba Farah, Latifa Toujani, Esther Cecile Bendaoud Boccara, and Fatna Gbouri alongside contemporary works finished in the past couple of years by artists like Khadija Jayi, Amina Azreg, Fatiha Zemmouri, Mandy El-Sayegh, Sara Ouhaddou, Samar Mougharbel, and Nadia Ayari. Of Ayari’s Loop II (2019), he said he was particularly drawn to its “sculptural presence” after seeing it in person, adding that Ayari’s paintings “reflect a younger diasporic perspective that pushes things forward without breaking from the foundation. They’re not just solid works. They’re a clear signal of where the collection is headed.”

During an LA gallery crawl, Beth Rudin DeWoody learned of the work of three emerging artists—Hannah Lee, Lucas Fernando Rubly, and Heidrun Rathgeb—and acquired work by them all, including Lee’s Dumbo’s Feather (2025). In New York at Tibor de Nagy, her buying took a more historical turn when she scooped up a collage by John Ashbery, titled Popeye Steps Out – for Joe Brainard (2016).

Two recent exhibitions prompted Lonti Ebers to make a pair of acquisitions: MoMA’s retrospective of work by Jack Whitten earlier this year led her to acquire his 1983–84 sculpture The Afro-American Thunderbolt, while “The Atomic Age” exhibition at the Musée d’Art Moderne de Paris last fall led her to buy a 1960 abstraction by Atsuko Tanaka. Of the latter work, Ebers said, “I particularly like this early painting’s relationship with her performative work—its references to electric bulbs, synaptic energy, and phasing.” 

Earlier this year, Rebecca and Martin Eisenberg bought work by two rising artists whose art they’ve been keeping an eye on. From Michelle Uckotter’s solo show at Matthew Brown’s LA space, they bought The Musicians (2025); from Yu Nishimura’s New York debut at David Zwirner, they bought Spring Field (2025). About Nishimura, Martin said, “I’ve been drawn toward his landscapes. They’re highly stylized with dreamlike expanses and it’s the type of painting that I will enjoy living with over time.” 

Nicola Erni’s recent purchases include Tom Wood’s Not Miss New Brighton (1978–79); Jerry Schatzberg’s Paris (1962); and Cy Twombly’s Portrait (Rome), 1962, which, “due to its small format,” she said, “is especially precious to me in a very unobtrusive and delicate way.” 

Michael Forman and Jennifer Rice recently acquired work by three painters from two different generations: Joan Semmel, Firelei Báez, and Nina Chanel Abney. They described Semmel’s 1988 canvas Looking Glasses as “unapologetic in its realistic representation of the female body,” while Abney’s Loads of Grace (2024) “was an immediate yes for both of us the minute we saw it” because of its use of “bright yellow halos, similar to those associated with the Virgin Mary, to elevate the mundane act of washing clothes into a spiritual and communal experience.” 

Amanda and Glenn R. Fuhrman have long admired Roy Lichtenstein’s large-scale outdoor work House III (1997), which was installed on the lawn of the artist’s Southampton home by his widow, Dorothy, after his death. As Glenn told ARTnews of the recent acquisition, “After she passed [in 2024], the estate reached out to see if I was interested to purchase the work, which I did straight away and then moved down the road to our Long Island home. It brings our family great joy and, for me, a constant stream of lovely memories of both Dorothy and, of course, Roy every time I look at it.” 

Recent purchases by Barbara and Michael Gamson include Kennedy Yanko’s Politics of Memory (2025); Reggie Burrows Hodges’s 2023 painting Stepping Stone (Amsterdam); and Ugo Rondinone’s Yellow Blue Monk (2025).

“Our most treasured recent acquisition is Mark Bradford’s Silver Bullet [2006],” Denise and Gary Gardner said. “Like most of Bradford’s works, it’s a masterpiece in workmanship, ingenuity, and beauty. For us, it resonates personally like no other work we own. Gary and Mark discovered they both had worked for decades in the Black beauty business. Mark told the story of how the endpapers fell to the floor one day, giving him the idea of utilizing them in paintings. When asked what brand he used, his brand was the product that Gary had developed for his family’s business—a system that improved the delivery of permanent waves for African American customers and sparked a lucrative business. Mark seemed overjoyed. Until we met Mark, never had our two worlds of art collecting and the beauty business collided.”

Recent purchases by Thomas and Nasiba Hartland-Mackie include Stuart Middleton’s 2024 sculpture Personal effects and things that are biographical in amongst material that might be understood as generic without clear separation under compression (Kebab). “This is a strange and wonderful work that looks like a geological ‘core sample’ from a not-so-distant domestic past. We have always been drawn to ambitious work by artists and are prone to support them in their visions even—or especially—when they are anything but practical,” said the couple, who are new additions to this year’s list. 

Hortensia Herrero recently purchased a sprawling 18-by-13-foot bench by Jean Dubuffet. “As soon as I saw this bench, I thought it would be a great idea to install it in my art center [in Valencia] so that people could not only contemplate it but also sit on it to view other works of art,” Herrero said. “I’m still deciding in which gallery of the museum to place it because, undoubtedly, wherever it goes, it will completely transform the space that houses it.” 

A recent acquisition by Janine and J. Tomilson Hill, for the Old Master part of their collection, is Jacopo Bassano’s The Way to Calvary (1542–45). 

Recent acquisitions by Marguerite Hoffman include works by Willem de Kooning, Cecily Brown, Leonora Carrington, Max Ernst, Jacqueline Humphries, Charles Ray, Doris Salcedo, Dana Schutz, and Tavares Strachan, as well as an untitled sculpture by Lee Bontecou.

Dakis Joannou’s recent purchases include a 2025 bronze, Doric Disorder, by Andra Ursuţa and a sculpture resembling a mattress, titled 168 (2013), by the late Kaari Upson. 

“I focused more recently on acquiring works by artists who inspire me,” Rashid Johnson said of David Hammons’s 1975 Untitled (Body Print) and 2021 Untitled (Basketball Drawing); Bob Thompson’s 1960 Bacchanal; and Pat Steir’s 1989 Ancient Waterfall. “These are some of my heroes—figures whose work
I think about often. I’ve had the opportunity to come across pieces that I find deeply fulfilling and intellectually rich, works that not only resonate with my own practice but also challenge me to see and think differently.” 

Pamela J. Joyner and Alfred J. Giuffrida often wait for the right work rather than buying impulsively. That was the case with a recent purchase, Rashid Johnson’s 2024 abstract sculpture Care Free, which they described as fitting “our aesthetic perfectly.” Since buying a home in Nevada, they have begun their “journey into living with outdoor sculpture,” and the Johnson piece will be installed on their grounds between two works by Richard Hunt. They also recently acquired the first painting from a new body of work by sculptor Thomas J Price, who was a 2025 Joyner/Giuffrida Visiting Artist at the Nevada Museum of Art.

Elie Khouri recently purchased works by Cathy Josefowitz, Dhewadi Hadjab, Louise Bonnet, Thalita Hamaoui, as well as Alvaro Barrington’s Sunsets After TR, Northern Lights (2025). 

Grażyna Kulczyk said she values Paulina Olowska’s The Mother (2025) “not only for its strength and matrilineal symbolism, but also for the spirit of its creator. Paulina is a wise rebel, a true activist who embraces artistic, educational, and social engagement with rare authenticity. I await her next work with eagerness and curiosity.” 

Recent acquisitions by Barbara and Jon Landau include Arnolfo di Cambio’s Bishop Andrea de’ Mozzi head (ca. 1296–1300) and Gustave Courbet’s Vue d’Ornans et son clocher (ca. 1858).

“I am a little obsessed with Nairy Baghramian’s work these days,” Miyoung Lee said. “It took me several years of searching but I bought my first piece this year [Dwindler_Dizzle (blue), 2021]. Ironically, it was from a JPEG at an art fair—something I am loath to do—but I had done so much homework on her, I was able to commit.”

Liz and Eric Lefkofsky acquired another work, Untitled Cowboy (2011), by Richard Prince, whom they collect in-depth, as well as Kerry James Marshall’s Invisible Man (1986).

Jennifer and Alec Litowitz recently installed a commissioned work by Tavares Strachan, the 25-foot-wide Encyclopedia of Invisibility: Hidden Legacy of Game Boy (2025), in their family office. Having collected Strachan’s work for five years, they said they “were excited by the prospect of working with the celebrated artist on an artwork that explored our interest in science, technology, space exploration, history, and literature.”

Among Cheech Marin’s recent acquisitions are two 2025 paintings: As the Sun Goes Down (Mathis, TX 1968) by Ricardo Ruiz and Augmented Reality: 4200 Park Ave. by Eric Martínez, who recently exhibited in a group show in the community gallery of Marin’s museum, The Cheech, in Riverside, California. “Shortly after The Cheech was first envisioned in 2017, I began saying Riverside would become the next big ‘art town.’ The museum’s success has proven that prediction right, and it’s been exciting to continue acquiring works by Riverside-based artists,” Marin said. 

Suzanne McFayden recently acquired two abstract works: Frank Bowling’s Back to Snail (2000)—a “small work that encompasses all the techniques he is known for, but was no less thrilling to behold,” she said—and Amanda Williams’s She May Well Have Invented Herself (2024). Of Williams, McFayden said, “I am fascinated by her process but always drawn to the beauty of her end results.”

Among Rodney Miller’s latest purchases is Michaela Yearwood-Dan’s It’s gonna be alright this time (2023). Miller recently moved to Miami, and that work is now on view, along with others from his holdings, in his new home as part of a hang curated by Pérez Art Museum Miami director Franklin Sirmans. “The way Franklin has combined modern and contemporary artists from my collection has not only allowed me to see the works in a new light, but often brings a smile or wonderful memory,” he said. 

Last year, Jarl and Pamela Mohn announced the formation of “MAC3,” a new initiative that would see three Los Angeles museums—Los Angeles County Museum of Art, Hammer Museum, and Museum of Contemporary Art—jointly share an initial gift of more than 350 artworks, with ongoing acquisitions. Since then, they have been closely collaborating with the museums on additions, including pieces by Alfonso Gonzalez Jr. and Liz Glynn, as well as, Jackie Amézquita’s El suelo que nos alimenta (2023).  

A recent purchase by Kelly and Scott Mueller is Matthew Day Jackson’s Gates of Hell (2025), a modern-day update to Rodin’s iconic sculpture of the same name. “Matthew is so smart and passionate, and the idea was so audacious. Rodin worked on the Gates for 30 years, and it incorporated many of his ideas and individual sculptures. Likewise, Matthew used the Gates to integrate his ideas of the West and nature,” Scott told ARTnews.

Kiran Nadar recently purchased M.F. Husain’s 1954 painting Untitled (Gram Yatra), below, which “reflects India’s deep historical roots, its evolving future, and Husain’s dialogue with international modernism as the visual chronicler of post-independence India,” she said. 

Purat “Chang” Osathanugrah, the son of late Top 200 Collector Petch and a new addition to the list, has been adding works to the collection of the soon-to-open museum Dib Bangkok, the brainchild of his father. Among his recent purchases are Peihang Benoit’s Sardanapalus’s Pillow Fight (2024) and Nawin Nuthong’s Paper Wing (2024). “Nuthong and I come from the same generation and city, so his work hits especially close to home,” he said. “His imagined worlds blur past and future, evolving as technology reshapes how we experience culture. This is something I can relate to, having lived through both the beeping of dial-up internet and the age of TikTok dancing.” 

Sean Parker, a new addition to the list, recently purchased Jacqueline Humphries’s JH123 (2024), as well as works by Julie Mehretu and Yu Nishimura. He then quickly donated them to LA museums, with the Nishimura going to LACMA and the Humphries and Mehretu to MOCA. 

Among Michael Ovitz’s dozens of acquisitions this year are works by Edgar Degas, Walter Price, Salman Toor, Adam Pendleton, and Kathleen Ryan, as well as an ancient Roman Apollo torso. He’s also been on a bit of an abstraction kick, buying works by Lucy Bull, Cecily Brown, Diego Singh, Sabine Moritz, and Francesca Mollett. Ovitz sees a particular resonance between Price’s Remove the veil (2023) and Degas’s Interieur at Menil-Hubert (1892), which he won at a Sotheby’s evening sale in May. “I’ve gotten very interested in going backward in time to support the modern and contemporary work,” Ovitz said, adding that a visit to the recent Caravaggio retrospective in Rome especially impacted this turn toward juxtaposing new and old. “That exhibition influenced me in going backward—it reinforced my point of view.” 

“Márcia Falcão’s paintings struck me by their dramatic depiction of scenes and people,” Andrea and José Olympio Pereira told ARTnews. They ended up buying a series of four paintings that reference a short story by one of Brazil’s most important 20th-century authors, Machado de Assis. As José Olympio said, “Coming from a family of publishers and literature lovers, I was immediately caught by the reference.”

A recent purchase by Darlene and Jorge M. Pérez is William Kentridge’s Paper Procession IV (2024), which joins several other of the artist’s works already in the collection, including charcoal drawings and a video installation.  

Two recent acquisitions by London-based Alexander Petalas, a new addition to this year’s list, are Salman Toor’s The Scholar (2024), which showed at the artist’s New York solo at Luhring Augustine this spring, and Xinyi Cheng’s When danger approaches, sing to it (2024). “It is hard to explain what makes Xinyi Cheng one of my favorite painters today, but her work touches me deeply,” Petalas told ARTnews. “As she is not extremely prolific, it is even more exciting every time I have an opportunity to encounter the work. What I love about this piece is the palpable bond between human and animal and that feeling of being one with nature.”

At last year’s Art Basel Miami Beach, Cecilia and Ernesto Poma scooped up Alejandro Piñeiro Bello’s 500 Years (2024), attracted to the work’s “dynamic blend of abstraction and figuration, embodying two important aspects of our collection,” Ernesto said. “Its vivid explosion of Caribbean color resonates deeply, reflecting our Latin heritage.” Other recent purchases include works by Theaster Gates, Dalton Paula, Studio Lenca, Olga de Amaral, Teresa Solar Abboud, Alvaro Urbano, Danielle Mckinney, and Diego Singh.

Ahead of the release of a monograph that his Barjeel Art Foundation will publish this fall, Sultan Sooud Al Qassemi acquired another work by Inji Efflatoun, The Fourth Wife (ca. early 1950s). Other purchases include Nazem Al Jaafari’s Malak in Abbasid Dress (1950s) and a commission by Afifa Aleiby, A Wonderful World (2024), which shows 16 historical women who have played key roles in the development of Islamic culture—a complement to another work he owns, Mahmoud Hammad’s Muslim Scientists (1988), which shows 16 male scientists.

Ahead of an exhibition for the artist at the Dia Art Foundation in early 2027, Cindy and Howard Rachofsky recently purchased Seung-Taek Lee’s Untitled (1962), adding to the dozen or so of his works they already own. “This is in keeping with our desire to broaden our holdings in postwar Korean art, which is not well collected in the US but is of global historical importance and relevance,” they said. 

Ahead of the 30th anniversary of her namesake foundation in Turin, Patrizia Sandretto Re Rebaudengo recently purchased works by artists who had shown there, including Stefanie Heinze’s 2024 painting Parts of Privacy (Urban Submissive).

Among Bob Rennie’s latest purchases are Julio Galán’s El Encantamiento No. 3 (1989), Kurt Kauper’s Study for Cary Grant #4 (2003), and Vivienne Maricevic’s Annie (1992, left).

Betty and Isaac Rudman’s recent purchases include Wifredo Lam’s 1929 View of Segovia (Plaza del Azoguejo) and his 1939 Personnage N. 2, as well as Remedios Varo’s 1959 Microcosmos (or Determinismo), for which they paid $1.8 million at a Sotheby’s evening sale in June. 

Recent acquisitions by Nadia and Rajeeb Samdani include works by Delcy Morelos, Jangarh Singh Shyam, Matthew Krishanu, Paula Siebra, Rashid Choudhury, and Sanam Khatibi, as well as Noorain Inam’s A moon that surrounded itself with the most interesting stars (2024). 

“I’m obsessed with Jenna Gribbon, and am fortunate to have collected a great deal of her work,” Pete Scantland said, noting he recently added another work by Gribbon, Co-Constructed in Red (2024). “Her work draws you in to moments that feel at once intimate and staged. Her paintings invite you close, only to remind you that you’re a voyeur in her world. She’s showing you something personal, but she’s also asking you to think about why you’re looking and how you’re looking.” Other recent acquisitions include pieces by Martin Wong, Louise Bourgeois, Maria Berrio, Rashid Johnson, Carol Bove, Louise Nevelson, and Jacqueline Humphries.

Recent purchases by Jordan Schnitzer include works by Hank Willis Thomas, Christopher Myers, Jeffrey Gibson, and Mickalene Thomas, whose l’espace entre les deux (2025) he commissioned for a special project at this year’s IFPDA Print Fair. 

Komal Shah and Gaurav Garg recently acquired Erica Rutherford’s Yellow Stockings (1970), which they first saw at the 2024 Venice Biennale. The work, they said, “has the bright and flat Pop sensibility of that era, but also provided a way for Rutherford to navigate her gender identity as she began transitioning in the 1970s.” 

Recent purchases by Sara and John Shlesinger include works by Joan Snyder, Daniel Arsham, Kelly Sinnapah Mary, and Samuel Levi Jones, as well as Kumi Sugai’s Untitled (1973–74). 

Gary Steele and Steven Rice recently acquired Rashid Johnson’s Quiet Painting “Spectrum” (2025), Eunnam Hong’s Patient (2025), and Amy Sherald’s In the Garden of Herself (2024), which featured in the artist’s recent traveling survey. “We believe Amy is one of the most important portrait artists of our generation. The way her work celebrates everyday people and challenges traditional stereotypes is unique and this particular work is truly characteristic,” Steele and Rice told ARTnews. 

Emile Stipp recently acquired paintings by Emma Prempeh, Asemahle Ntlonti, Jared Ginsburg, and Georgina Gratrix. Prempeh’s Tante Winnie’s Sister (2024) also features a video projection onto the canvas, which Stipp said he found resonant with another collecting area of his, video art. “Her use of gold leaf as a painting material, which oxidizes and discolors over time, and her continued exploration of memory, heritage, even nostalgia—all of these elements were evident in Tante Winnie’s Sister,” he said. 

Recent acquisitions by Julia Stoschek include video works by Sondra Perry, Vaginal Davis, and LuYang, as well as mixed-media sculptures by Jesse Stecklow and Isa Genzken.

“My collection is essentially composed of two collections that I have been building in parallel over the years,” Basma Al Sulaiman, a new addition to this year’s list, told ARTnews. Her collection of Saudi Arabian art focuses on works made between 2005 and 2015, tracking “the early days of Saudi Arabia’s shift toward contemporary art,” and she recently acquired Ayman Yossri Daydban’s Ihramat, quadriptych (2012). Her international collection, on the other hand, “is more intuitive” and inclined toward pieces “that often captivate me visually or emotionally.” Recent examples include works by Sarah Morris and Paula Rego.  

Christen Sveaas commissioned Nairy Baghramian to create Resting Arms for his private museum, Kistefos, which previously mounted a show pairing Howard Hodgkin, an artist Sveaas collects in depth, and Martin Creed. Resting Arms “explores the contemporary human body and form, while nodding to the activity and labor that happened historically at the paper pulp mill at Kistefos,” Sveaas said. 

Ryutaro Takahashi recently bought Kenjiro Okazaki’s Heaven’s Path Dim—Threads Rise to Light, Lines Seek the Deep / 諒天道之微昧，仰飛纖繳，俯釣長流 (2025). Okazaki recently recovered from a stroke; Takahashi said his work since then “has been even more powerful and prolific, [and he has produced] numerous sculptures over the past year. I believe this work is his masterpiece.” 

A recent acquisition by Belinda Tanoto is The Weight of a Patina of Time (2024), a three-part drawing by Gala Porras-Kim, whom Tanoto collects in depth. “I was initially drawn to her work because of how she challenges traditional museum narratives and asks difficult questions about cultural ownership, preservation, and loss,” Tanoto said. “Her practice—rooted in deep research yet visually restrained and conceptually sharp—explores how objects from ancient cultures are interpreted, stored, and displayed by institutions.” Of her recent purchase, she added, “These pieces often blur the line between document and drawing, between official archive and imagined narrative. What I find most compelling is how her work invites both institutional critique and quiet reflection.”

Carl and Marilynn Thoma first saw Charles Atlas’s five-channel video installation Tyranny of Consciousness (2017) at the Hammer Museum in 2018. When they saw it again at the ICA Boston this past January and learned an edition was available, they acted immediately to acquire it. “We have a specific priority this year to bring work into the collection that adds to our existing holdings of time-based art histories, and of artists who have had an early and continued impact on the field. Atlas definitely fits this bill,” they said. 

Through her foundation TBA21 Thyssen-Bornemisza Art Contemporary, Francesca Thyssen-Bornemisza often commissions new work that she ultimately acquires. That was the case with Naufus Ramírez-Figueroa’s 2025 installation Cuna y arrullo, which was exhibited at the Museo Reina Sofía in Madrid, the piece’s co-commissioner. This past September, the two organizations co-presented a performance related to the work; Thyssen-Bornemisza plans to acquire the video documentation of it. “I see this as part of our commitment to performance as a living, breathing practice: ephemeral in form, but enduring in its impact,” she told ARTnews. “His work resonates with histories of trauma, memory, and ritual, and it speaks to how art can heal while opening up difficult conversations.”

Recent acquisitions by Josef Vascovitz and Lisa Goodman include works by John Reno Jackson, Ana Claudia Almeida, Muna Malik, Li Wang Leo, as well as El florero (2024) by Salvador Dominguez, whom they learned about via ARTnews’s “Best Booths” roundup of NADA Miami. 

Mei and Allan Warburg recently installed Sanford Biggers’s 25-foot sculpture Oracle (2021) on their Donum Estate in Sonoma, California. “From the moment we first encountered Oracle, we were struck by its presence and the way it unites African mask traditions with Greco-Roman classical form,” they said. “Biggers refers to the work as an object of ritual and reflection; placed within our vineyards [at Donum], it becomes a site of pilgrimage.”

Jenny Yeh acquired the first work from Nairy Baghramian’s “Misfits” series back in 2021, when it first showed in Milan. This year, she bought the artist’s Misfits M after seeing it in London. She added, “This summer, I also had the chance to visit Nairy’s studio in Berlin, and I’m very much looking forward to her new work.” 

In addition to acquiring works by Pierre Huyghe, Jack Whitten, and Cameron Rowland, Sonya Yu recently scooped up Paul Pfeiffer’s 100 Point Game (2012–24), a nearly three-minute video displayed on a custom CRT monitor. The artist’s traveling retrospective, which Yu saw when it debuted in November 2023 at the Museum of Contemporary Art in Los Angeles, “remains imprinted in my being,” she told ARTnews, adding that Pfeiffer is an artist whose “work transcends time. With the 100 Point Game, I am enthralled by his use of technology paired with the timeless commentary on the personal body and the body politic. What is defined and contested through his practice is a relevant philosophy we could all practice with more urgency.”

A recent acquisition by Ryan Zurrer is Refik Anadol’s Winds of Yawanawá (2023), which he bought “directly from Yawanawá tribe, in support of their historic Ayahuasca Conference.” He also donated a suite of “Digital Paintings” by Samia Halaby, including Weavings (1987), to MoMA, which then put them on view. Delving into the history of digital art led him to Halaby’s kinetic paintings. “Halaby’s abstract digital works feel alive, unfolding and evolving across the screen in ways that still feel fresh today,” Zurrer said. “I admire the artist’s fearless approach to technology and form, and this series gives such a beautiful glimpse into the early days of digital art.”