What the World’s Top Collectors Bought in 2026, From a 15th-Century Pietà Painting to an Oar from Lubaina Himid’s British Pavilion

Two recent purchases by Laurent Asscher include Ed Ruscha’s Venezia, Venice (2026) and Joseph Yaeger’s 2025 mixed-media portrait Clean Windows Kill Birds.

Pedro Barbosa recently acquired Aziz Hazara’s 2023 photograph Bagram Plug and Pedro Zylbersztajn’s three-channel video installation Rehearsal for Return (2026).

Robert Gober’s 1992 Untitled (functioning sink) recently entered the collection of Allison and Larry Berg, who had “quietly coveted a Gober sink for decades,” they said. “We finally acquired the work because the longing simply wouldn’t dissipate, and because Bob’s practice has inspired so many of the themes explored by other artists in our collection. There was a hole in our story without a Bob Gober sink. In a collection devoted to work that gives voice to underrepresented individuals interrogating their own culture, identity, and sociopolitics in ways that were groundbreaking for their generation, that absence had become impossible to ignore.”

The four-panel painting A Reformation (2025), a recent acquisition by Anita Blanchard and Martin Nesbitt, has a personal connection to the collectors via their relationship with its maker, Lynette Yiadom-Boakye. “We were sitting together in a restaurant having tea when a colleague failed to recognize us,” the couple told ARTnews. “It led to a wonderful conversation about what it means to be unseen or made to feel like the ‘other’—and about how friendship, community, and mutual support allow us not simply to endure those experiences, but to flourish despite them. The painting brings us back to that conversation and all that it represented.”

“I don’t collect for investment or for attention,” Suzanne Deal Booth said. Instead, she prioritizes “matching a work of art with its environment.” Two recent acquisitions in line with that approach are My Sweet Lion Pierced (1968) by Dorothy Hood, whose “expansive sweeps of color … remind me of the sky and prairies of Texas,” and a patinated cast-bronze bell for her home in Austin, Texas, commissioned from the artist Davina Semo, whose bells “engage both auditorily and aesthetically with their environment” and are typically “designed to uniquely respond to each setting.”

Recent purchases by Estrellita and Daniel Brodsky include a Kati Horna photograph, a 1934 Salvador Dalí engraving, and paintings by Eileen Agar, Sofía Bassi, and Josi.

James Keith “JK” Brown and Eric Diefenbach’s recent purchases include Cora Cohen’s What Is This About? (2008); Anthony Bumhira’s Maputso (2018); Ali Eyal’s You need to go back to page number “13” to not understand anything, and (2023); Sonya Kelliher-Combs’s Nuna, Green and Rust (2026); and Uman’s Fifi (2025).

A new addition to the list, Disaphol Chansirirecently purchased Li Hei Di’s A Flayed Tongue in the Wrong Eye (2025). “At the moment, I find myself particularly drawn to paintings with a dreamlike quality, and there is something about Li’s work that I find very compelling,” he said.

New additions to the Top 200, Jane and Robert Clark recently acquired Harmonic Resonance (2024) by St. Louis–based artist Basil Kincaid. “We were immediately drawn to its sense of human connection and laborious nature,” the Clarks told ARTnews. “From the hand-sewn details to the layered textiles and references to quilting traditions, every stitch carries a sense of care, making the work feel both intimate and monumental. It reminds us that art has the power to preserve histories, bring people together, and inspire compassion—making it a work we knew we wanted to steward.”

Patrick Collins recently went on a buying spree for video works, scooping up Yoko Ono’s SKY TV (1966), Paul Pfeiffer’s 2008 Caryatid (Red, Yellow, Blue), Sara Cwynar’s Baby Blue Benzo (2024), and Tuan Andrew Nguyen’s Ñi DeMoon Ñoo Delusi (Those Who Left Are Those Who Return), which he supported for its debut at the 2026 Venice Biennale. Other acquisitions include works by N. Dash, Hanna Hur, Angharad Williams, Pope.L, and Robert Gober.

In the past year, Lonti Ebers bought Marcel Duchamp’s iconic readymade featuring a snow shovel, In Advance of the Broken Arm, “after narrowly missing a chance a few years earlier,” she told ARTnews. The now-lost original was purchased from a Manhattan hardware store in 1915, but this version comes from an edition Duchamp authorized Arturo Schwarz to make in 1964. Christie’s sold one example from the edition, once owned by Joseph Kosuth, for $3.1 million in November 2024, while Ebers paid $2.9 million when the house put another one up for auction this past May. “It is perfect company for my large David Hammons tarp and for his Duchamp-inspired Toilet Tree,” she added.

Nicola Erni’s recent purchases include Mickalene Thomas’s Afro Goddess Looking Forward (2015) and a complete set of The Americans, Robert Frank’s iconic suite of 83 images documenting postwar life in the US like Parade — Hoboken, New Jersey (1953). “Robert Frank is the master of
socio-critical photography, so when the opportunity appeared and the set fit so well in my collection,
I had to get it,” she said.

A New York gallery crawl this past spring led Beth Rudin DeWoody to acquire Deondre Davis’s Annex (2026) from his second solo show at Gordon Robichaux and Ron Isaacs’s Nest (2019) from a solo at Marinaro.

Martin and Rebecca Eisenberg recently purchased Kenji Ide’s Distance between feelings and letters (2025) and Jo Messer’s Two in the hand (2024–26). They had bought two small paintings by Messer a couple years ago and “greatly enjoyed living with them,” they said, leading to their acquisition. Of Ide‘s art, they said, “Finely crafted and minimalist in form, the works add up to something much larger when viewed in his beautifully conceived installations.”

Michael Forman and Jennifer Rice have been following Philadelphia-born artist Jennifer Packer for several years, with a visit to her 2025 exhibition at Sikkema Malloy Jenkins in New York convincing them to finally add her work to the collection. “Nate, Chey was the first work we encountered in the exhibition, and it stayed with us long after we left the gallery,” they said.

Amanda and Glenn R. Fuhrman’s recent purchases include Jim Hodges’s honey (2026), Sabine Moritz’s For the lovers XIII (2026), Nicolas Party’s Portrait (2025), and Anna Weyant’s Grace (2026).

“Curiosity is probably the biggest driver for us. We’re always looking at artists whose work changes the way we think or opens up a conversation we hadn’t considered before,” Becky and David Gochman said of their approach to collecting. “One of the things that continues to excite us is how contemporary Native artists have always been shaping the broader story of contemporary art, even if institutions haven’t always recognized it that way. We don’t see Native art as a separate category—we see it as an essential part of contemporary art.” Recent purchases include Jeremy Frey’s Twilight (2026), Nanibah Chacon’s Water Yeii (2026), Brian Jungen’s Splint Sit Splinter (2025), and Grace Rosario Perkins’s Andrea and I had the Same Dream, but before we danced (2026).

Over the past year, Kenneth C. Griffin has put several of his trophies on view at museums across the country. This spring, the Metropolitan Museum of Art hung Madonna of the Yarnwinder (ca. 1501), by Leonardo da Vinci and Studio, as part of a three-year loan from Griffin, while across Central Park, the American Museum of Natural History has “Apex,” a complete Stegosaurus skeleton that the collector paid $44.6 million for in 2024. And, through June 2027, the Pérez Art Museum Miami has on view an exhibition featuring 10 of Griffin’s Jean-Michel Basquiat works. Ahead of that show’s opening, he told The New York Times that his collection “represents some of the most iconic works of humanity in the history of art.”

At Art Basel in Switzerland this past June, Hortensia Herrero spotted Antony Gormley’s HERE (2024) among the booths. “I immediately felt could fit perfectly into a specific space in my art center,” she told ARTnews, noting that it will go on view later this year at the Centro de Arte Hortensia Herrero in Valencia, Spain. “Gormley is an artist I have followed for many years, but I had never come across a work that I felt was right for my collection. Sometimes, you simply have to wait until the right piece comes along—one that fits into your collection and sparks your interest in acquiring it.” The acquisition is also somewhat unusual in terms of an art-fair purchase as she had to contact Gormely about adapting it to meet the space’s dimensions. “What initially began as a straightforward acquisition evolved into an enriching dialogue that ultimately resulted in an installation that could be described as site-specific, as it has been virtually tailor-made for the space in which it will be presented,” she said.

“What drew us to this sculpture was its dimensionality; it’s a work that looks different from every angle, an ostensibly static artwork that reveals a unique dynamism,” Janine and J. Tomilson Hill said of a recent purchase, Carol Bove’s Chimes at Midnight IX (2025). The work, they added, embodies the qualities they look for most in a new addition to their collection: “ambition, formal invention, and an enduring capacity to reveal something new with each encounter.”

Recent purchases by Pamela J. Joyner and Alfred J. Giuffrida include Firelei Báez’s 2026 painting Kairos Calabi-Yau (or the universal fold: its crease, its double, its assassin, its complement), the fifth work by the artist to enter the collection, as well as Julie Mehretu’s 2022–23 painting Epiphanic Mass (Epitaph), a commission that is a promised gift to the Raclin Murphy Museum of Art at the University of Notre Dame, as a thank-you for being the first museum to mount an exhibition of the collection, in 2018.

A new addition to the list, KAWS has been a fan of Tadanori Yokoo since he first discovered the artist’s work in used bookstores in Tokyo during the 1990s. “I was fascinated by his journey as an artist, moving fluidly between graphic design and painting,” KAWS told ARTnews. The two have since become friends, and Yokoo recently offered KAWS his 1966 painting Gold Tooth, from the “Pink Girl” series, which KAWS described as “graphic, humorous, and painterly all at once.”

In addition to the acquisition of several paintings this past year, from Von Wolfe’s The Gravity of Grace (2025) to Dominic Chambers’s Rapture in Half-Light (Interpretation 1), 2024, Elie Khouri also added a sculpture to his holdings: Vojtěch Kovařík’s Atlas (2025), which he had committed to buying when “it was still in its early sketch phase.” Last fall, it was displayed on Avenue Winston Churchill as part of Art Basel Paris’s Public Program. “Following its evolution from concept to completion, even from afar, was a cool experience,” Khouri said. “Seeing the finished work installed on the streets of Paris was a moment I will not forget.”

Though Barbara and Jon Landau mostly collect Italian and French painting and sculpture, they added The Pieta, with Saints John and Mary Magdalene (ca. 1460) by a Follower of Rogier van der Weyden because Jon’s favorite painting is the master’s The Deposition (ca. 1490), now in the collection of the Prado. This “exquisite workshop variant” came up at auction many years ago, but they didn’t manage to buy it. “Failing to obtain it then, it came back around a year ago, and this time we didn’t let it slip through our hands,” Jon said. “In superb condition, in my view, it’s about as close as one can come to van der Weyden himself in today’s world—that’s because there are almost no fully autograph versions of van der Weyden paintings that remain in private hands.” Other acquisitions include Giambattista Tiepolo’s tondo St. Luigi Gonzaga (ca. 1750), acquired from Galleria Moretti in Florence, and Jacopo Bassano’s The Annunciation to the Shepherds (ca. 1569) from Walter Padovani at TEFAF Maastricht.

Having long followed the work of Jeremy Frey, Jennifer and Alec Litowitz began to collect his work in-depth after the artist’s 2024 retrospective at the Art Institute of Chicago, expanding beyond his baskets to also acquire his flat weaves and relief prints. “We have always appreciated exceptional craftsmanship,” the couple said, noting that they also bought Burst (2026) from his show at Karma in New York this past spring.

“Two of my favorite acquisitions this year are paintings by Sonya Fe and Cande Aguilar. They’re very different paintings, but that’s what I like about them,” Cheech Marin said of Fe’s Children See Things Differently, When They Are Sick (2025) and Aguilar’s Sabotage of Peace (2026).

Two recent purchases by Suzanne McFayden include Michaela Yearwood-Dan’s I And I (2026, left) and Lubaina Himid’s Shell for a Dull Day (2026), which is showing at the British Pavilion at this year’s Venice Biennale.

A recent purchase by Raymond J. McGuire and Crystal McCrary McGuire is Hale Woodruff’s Picking Cotton (ca. 1926), which sold in April at Christie’s as one of several lots from the collection of Faye and Robert Davidson. They described the work as using “landscape, vibrant color, labor, and posture as a framework to demonstrate the significance of Black agricultural work, the continuity of oppression post-slavery, and the unwavering and quiet dignity of the workers. The painting is not just a scene—it’s a coded commentary on race, history, and resilience in the Jim Crow South.”

For the Mohn Art Collective, shared by three Los Angeles museums, Jarl and Pamela Mohn acquired Ali Eyal’s And Look Where I Went (2025, below), which showed at the Hammer Museum’s Made in L.A. 2025 biennial.

An important recent acquisition by Nancy A. Nasher and David J. Haemisegger came out of years of friendship. “We were deeply honored to be offered one of the last works Joel Shapiro made in his studio during his lifetime,” they said of Untitled (2023). “While his passing was a tremendous loss, we were touched that Paula Cooper Gallery entrusted this work to our collection. His generosity and spirit enriched our lives.”

“I first encountered Paul Chan’s 2nd Light during a private viewing in Shanghai in May, ducking out of the rain with a borrowed hotel umbrella,” Purat “Chang” Osathanugrah said of one of his latest acquisitions. “The work was tucked inside a heritage building on Taicang Road, in a raw concrete room left open to the elements, crisp and unadorned in exactly the way the piece seemed to demand. Part of Chan’s “The 7 Lights” series, 2nd Light is a projection of uncanny silhouettes that slowly reveal themselves before falling, rising, and disappearing again, always becoming, always unbecoming. Every shift in light and every angle you view it from changes what you see. You couldn’t really take it in just once; you linger in uncertainty and hope another viewing would resolve the unease.”

Michael Ovitz’s collecting interests stretch centuries of art history, with recent acquisitions including An Egyptian Limestone Sphinx of a Ptolemaic King (Ptolemaic Period, ca. 285–246 BCE); Rembrandt’s 1634 etching St. Jerome Reading; Franz Kline’s transitional figurative/abstract painting The Dancer (1946); Alexander Calder’s National Gallery III (maquette), 1972; Louise Giovanelli’s 18-foot-wide Ad Astra (2026); and Caroline Walker’s Showbar (2026). The sphinx best encapsulates his approach, he said, calling it “a reminder of how art defines us and our history, and of the importance of studying its relationship to civilization in terms of our collective growth and common foundations.”

“I am very proud of the friendship that has grown between me and Giuseppe Penone over the years,” Bernardo Paz told ARTnews. That relationship has developed into a commission for his forthcoming eponymous museum to be located next-door to Inhotim, the sprawling museum Paz founded two decades ago. “When I decided to begin a new landscape and an expansion of my collection in order to create Museu Bernardo Paz, he was one of the first artists I approached, and he suggested this piece, one he himself held especially dear,” the collector said of Idee di pietra – Quercia (2017). “The stones held up by the bronze tree make me think of how nature and life can bear the weight of ideas. It is a symbol of everything I try to create in my life by bringing art and nature together.” Other works that will populate the museum when it opens next year include ones by Michael Heizer, Anna Maria Maiolino, Pedro Moraleida Bernardes, and Sonia Gomes.

“The works of Josi caught our attention the minute we saw them,” Andrea and José Olympio Pereira said. “[They] transported us to an ancient world, where nature and people were tied together.” They ended up buying two sculptures, Mossima (2025) and Murundu (2024), and a textile-based hanging installation, Penerei fubá (2023–24). Other acquisitions include Luiz Zerbini’s Cupim (2025), Fernanda Pompermayer’s Acúmulo de alturas (2025), and Nara Guichon’s Nest (2023).

A recent acquisition by Marsha and Jeffrey Perelman is Meg Webster’s Cone of Water (2015), which they promptly installed at their home in Wynnewood, Pennsylvania.

Recent purchases by Darlene and Jorge M. Pérez include Wifredo Lam’s Femme assise avec fleurs (1944), Napoles Marty’s Shield-Maiden N.1 (2025), and Kapwani Kiwanga’s On Growth (2023).

Sultan Sooud Al Qassemi’s latest acquisitions are all historical works, ranging from A Captive Audience (n.d.) by French Orientalist painter Nasreddine (Étienne) Dinet, to Tawfik Tarek’s A View of the Ka’ba (1908–09), to Fadi Barrage’s Untitled (1974) and Juliana Seraphim’s Femme Fleur (1972).

For Glenstone, founders Emily Wei Rales and Mitchell Rales recently acquired Kerry James Marshall’s triptych comprising Haul, Outbound, and Cove (2023–25), which was made specifically for the artist’s 2025 survey at the Royal Academy in London.

Two recent acquisitions by Patrizia Sandretto Re Rebaudengo were site-specific commissions by Pamela Rosenkranz and Hugh Hayden for the Island of San Giacomo, in the Venice Lagoon, where her namesake foundation inaugurated a new space this year during the Biennale. Rosenkranz’s Old Tree (Pink Seas) was “conceived in dialogue with the island’s history, habitat, and identity” and its pink shade is highly visible from the water “serving as a landmark—a kind of luminous beacon,” she said. Hayden’s Huff and a Puff is emblematic of his practice, she added, as it “encourages viewers to look at what they already know from a different perspective, and that is precisely one of the qualities I seek in my collection: works by artists capable of changing the way we see the world.”

Nadia and Rajeeb Samdani recently acquired a work on paper, Who Carries Whom? (2025) by Soma Surovi Jannat, an artist they’ve followed since 2020, when she won the Samdani Art Award. She is also the subject of a show at the Ashmolean Museum at the University of Oxford (through November 1), the first solo exhibition of a Bangladesh-based artist in a UK museum, which the Samdanis also supported. The acquisition, they said, “represents both the strength of Soma’s evolving practice and our belief in supporting artists over the long term. As collectors, we are interested not only in individual works but also in following artists as their ideas and careers develop.”

“Over the last few years, I’ve been increasingly focused on collecting the work of artists who have been influential on my generation,” Pete Scantland said. In that vein, some of his recent acquisitions include Bob Thompson’s 1962 canvas Untitled (Oh Lawd), Martin Wong’s Everlast (1987), and Lee Lozano’s No Title (ca. 1964). Of the Lozano, part of the artist’s acclaimed “Tool Paintings” series, Scantland added, “This painting has an extraordinary physical presence. At first glance, it reads to me almost like a claustrophobic, mazelike interior. Only after spending time with it do you realize you’re looking at a clamp compressing a razor blade that seems poised to spring toward the viewer at any moment.”

Among Jordan Schnitzer’s latest purchases are Derrick Adams’s My Turn, Your Turn, Our Turn (2025), Leonardo Drew’s Number 438 (2025), Jeffrey Gibson’s I WANT TO TAKE YOU HIGHER (2025), and a trial proof of Ed Ruscha’s 2000 lithograph IF.

“Our recent acquisitions capture what excites us most about collecting: artists pushing ideas across generations, mediums, and disciplines. Samia Halaby is at the center of this group,” Komal Shah and Gaurav Garg said. They recently bought an acrylic painting, Mondrian Boogie Woogie (2016), and three digital works from 1987, including Bird Dog and Fly over Jersey. “Together, they make the arc of her practice visible: decades of experimentation with color, rhythm, movement, and technology. Her early digital work feels remarkably ahead of its time, while the later painting shows how consistently she has pursued the same core questions through different tools. That continuity is what draws us to Halaby.” Other new additions include Lee ShinJa’s Conversation between Circles IV (1976), Frida Escobedo’s Creek Stool Double (2022), and Flora Yukhnovich’s Leda and the Swan (2025).

Gary Steele and Steven Rice’s recent acquisitions include Jeffrey Gibson’s they plan and prepare for the future, fvni / sa lo li / squirrel (2025); Joan Semmel’s Cross-over (1979); Firelei Báez’s View of Nature, Panels 1 and 2 (2026); and Louis Fratino’s Ale in Liguria (2025), the latter two promised gifts to SFMOMA. “These four works look very different,” the couple told ARTnews, “but for us they share a common heartbeat. Each of these artists uses the body and their own lived identity to tell a deeply personal story—one of the main reasons their work resonates with us the way it does.”

“This was a year of continued focus on painting,” Emile Stipp said, buying in duplicate and triplicate for some artists, including Jared Ginsburg, Tofo Bardi, and Gregory Olympio. The subject of a solo at Cape Town’s Blank Projects, Olympio created pieces that “captured my heart—what an incredible body of work he’s building,” Stipp said, especially Rivage Bleu (2025): “I discover more every time I encounter the painting and the emotional tone permeates quietly but insistently.” He did allow himself one indulgence: a sculpture each by Edoardo Villa and Serge Alain Nitegeka.

In a disused theater in downtown Los Angeles this past February, Julia Stoschek mounted an exhibition of her holdings, “What a Wonderful World: An Audiovisual Poem.” Among them was a recent acquisition: Precious Okoyomon’s 2019 video It’s dissociating season. The collector described it as “both intimate and unsettling, moving between memory, vulnerability, and surrealism” and a “broader reflection on contemporary image culture.”

Basma Al Sulaiman has recently gotten into wearable art and artist-designed jewelry, purchasing Alexander Calder’s Brass Brooch (1940) and Man Ray’s The Oculist (1944/1971). “What draws me to this field is its ability to dissolve the boundaries between fine art, sculpture, design, and personal expression,” she said. “Wearable art occupies a unique place between object, sculpture, and adornment, yet it remains an often-overlooked chapter in art history. I hope, in a small way, to contribute to bringing greater attention to this remarkable field.”

Two recent acquisitions by Christen Sveaas are Dana Schutz’s Blind Boat, the artist’s first monumental outdoor sculpture, now installed at his Kistefos Museum; and Norwegian Art Nouveau artist Frida Hansen’s 1903 tapestry Sørover (Southward), which had been lost since it last showed at the Brooklyn Museum in 1931. It resurfaced some 90 years later, when carpet dealer Peter Pap rediscovered it. “A work of this quality belongs in Norway, and in a museum—so we bought it,” Sveaas said.

Recent acquisitions by father-daughter collectors Hiroshi Taguchi and Miwa Taguchi-Sugiyama include El Anatsui’s Telesma (2014) and Mari Katayama’s tree of life #017 (2025).

Belinda Tanoto recently purchased three works from Thao Nguyen Phan’s “Solar Noon” series, which she described as “beautiful silk paintings referencing brise-soleils, concrete sunshades characteristic of tropical modernist architecture,” and three mixed-media pieces by Stella Zhong, whose works “are ambitious in scale and inventive in their use of materials, yet they also feel deeply personal and timeless,” Tanoto said.

A recent acquisition by Carl and Marilynn Thoma is a scaled-down version of a work they saw around three years ago, when they traveled to Abu Dhabi, where Rafael Lozano-Hemmer’s Shadow Tuner (2023), which takes the form of “a giant balloon shaped like the Earth, slowly spinning,” was on view. They already owned eight works by the artist, but wondered “whether there was a way to bring that same experience at a scale that could fit into the collection permanently,” they said. It turned out there was, and the smaller work is now on view in their exhibition space in Santa Fe, New Mexico.

Francesca Thyssen-Bornemisza recently added Jasbir Puar and Dima Srouji’s Bus Tickets (2023) to her collection. “This installation, composed of 150 brass replicas of school bus tickets arranged by color, evokes everyday life in occupied Palestine in the early 2000s, and bears witness to decades of suffering under Israeli colonialism and violence,” she said. “We want to give a strong voice to Palestinian artists within our collection. Through this powerful work, we continue a commitment that has guided us for more than two decades: supporting artists whose practices confront the enduring legacies of colonial and extractivist violence, and who dare to imagine liberatory futures.”

A recent purchase by Ryutaro Takahashi is Hidai Nankoku’s Work 70-5 (1970). “It had long been a piece I’d hoped to acquire, and I am delighted that I was finally able to add it to my collection,” he said. “As the central theme of my collection is ‘drawing’ across both Eastern and Western art histories, I believe this work will become one of its defining masterpieces.”

The Vanhaerents Family’s recent acquisitions include Simone Leigh’s Untitled (2023–24); Lubaina Himid’s Surprise Navigation (2023), from the “Strategy Paintings” series; Sojourner Truth Parsons’s As famous as the moon (2024); Alexandre Diop’s Alertes sous les tropiques (2023); and a painting and a bronze by Pol Taburet.

Josef Vascovitz and Lisa Goodman recently purchased Fidencio Fifield-Perez’s dacament 26 (2022). “By painting on envelopes, he shows the detritus of identity. We’re drawn to the power of the idea in such a small physical space,” they said. Other new additions to the collection include John Reno Jackson’s wey dem bruize fruit at?, (2025) and Awilda Sterling-Duprey’s 2023 pastel-on-paper Après Duval-Carrié (After Duval-Carrié).

Founded and funded by philanthropist Alice Walton in 2017, Art Bridges is dedicated to expanding access to cutting-edge contemporary art across the country, via its lending program to over 300 partner museums. Among the organization’s latest acquisitions are Emma Amos’s Diver and Dolphin (1985–2011).

Jenny Yeh first saw Julie Mehretu’s Sumo (2024) at that year’s edition of Art Basel, Switzerland, but it wasn’t available, as it was destined for a survey at the Museum of Contemporary Art Australia in Sydney. She saw it again earlier this year on a trip to New York, and this time was able to buy it. “It felt like the right moment for the piece to join my collection,” she said. “Coming from a background in architecture and real estate, I have always been particularly drawn to the visual language of blueprints and maps. In Julie’s paintings, I don’t see simply abstraction—I see the underlying structure of architecture, almost like reading a building’s elevation or blueprint.”

In addition to acquiring two Ape CryptoPunks, which he described as “iconic and historically important digital works,” Ryan Zurrer also bought Harvey Rayner’s generative artworks Algorithmic Synthesia AC #9 (2026), via Art Blocks. “I love how the Art Blocks team continues to innovate and evolve,” he said.