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If ‘if you know, you know’ were a city, it would be Los Angeles. A city built for the traffic-tolerant, there’s something about the slowness in the LA lifestyle that, naturally, makes spending ample time here in order to understand just why it’s so fantastic, crucial. 
Los Angeles is one of the most diverse and vastly spread out cities in the US meaning your taste buds can literally travel from Iran, Korea and Mexico all in a day’s cuisine. It’s geographically and socially nonsensical &#8211; where a quirky old-hollywood charm persists, nothing can be too over the top or casual at the same time, and truly there’s something for everyone. 
The art scene here mimics just that &#8211; it’s home to the rise of pop and print culture as well as the light and space movement, holding place for the playful and the conceptual. Today, that sentiment still persists, with institutions from the Getty or the Eames House, to underground artist-run spaces and patrons doing it differently &#8211; all with that classic ‘if you know you know’ Los Angeles mentality. 
Whether you’re a Los Angeles aficionado, or new to the city, we’re here to help guide you in and outside of the Frieze madness to help you understand why we love this city as much as we do.

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<h1 style="text-align: center;">SEE</h1>
<h3><a href="https://www.thebroad.org/">The Broad</a></h3>
A downtown powerhouse of postwar and contemporary art, The Broad pairs blue-chip names (Warhol, Basquiat, Kusama) with buzzy, crowd-pleasing installations. Best of all, general admission is free.
<h3><a href="https://www.getty.edu/visit/villa/">The Getty Villa</a></h3>
Perched above the Pacific in Malibu, the Getty Villa recreates a Roman country house to showcase Greek and Roman antiquities. Marble statues, mosaics, and tranquil courtyards make it feel like a Mediterranean escape. Come for the classics, stay for the sea air.
<h3><a href="https://www.eamesoffice.com/visit-learn/eames-house/">The Eames House &amp; Foundation</a></h3>
The former home of Charles and Ray Eames is a mid-century icon: playful, precise, and deeply human. Glass and steel frame a lived-in collage of design objects and personal artifacts. It’s less a museum than a masterclass in how to live creatively.
<h3><a href="https://hollyhockhouse.org/">Hollyhock House</a></h3>
Frank Lloyd Wright’s California masterpiece feels cinematic, with its symbolic ornament and indoor-outdoor spaces inspiring designers and architects alike. It’s contemplative and unlike any other LA historic home.
<h3><a href="https://www.huntington.org/">Huntington Library</a></h3>
An encyclopedic cultural estate where Gainsborough’s Blue Boy shares a campus with rare manuscripts and 120 acres of themed gardens. The Japanese Garden and Desert Garden alone are worth the trip. Plan for a full day &#8211; this place unfolds slowly.
<h3><a href="https://www.nortonsimon.org/">Norton Simon Museum </a></h3>
World-class European paintings and Asian sculpture in a compact, elegant space; quiet but profound. Its Rembrandt, Picasso, and Rodin selections are standout gems.
<h3><a href="https://stahlhouse.com/">Stahl House</a></h3>
Pierre Koenig’s glass-walled Case Study House #22 floats above the city with jet-age confidence. The panoramic night views are pure LA fantasy.
<h3><a href="https://stahlhouse.com/">Neutra VDL house</a></h3>
Richard Neutra’s live-work compound in Silver Lake distills his philosophy of light, air, and landscape. Reflecting pools and razor-clean lines make it a modernist pilgrimage site.

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<h1 style="text-align: center;">GALLERIES </h1>
<h3><a href="https://thecabinla.com/home-1">The Cabin by Danny First</a></h3>
The Cabin LA’s residency program was formed in 2015 when Danny First constructed a 180-square foot edifice in the backyard of his Hancock Park, LA home to share art with friends, fellow art lovers, and artists. First named this dedicated structure The Cabin. Since 2015, The Cabin LA (La Brea Studio) Residency has provided a space for artistic practice, experimentation, and growth for 72 artists who First felt had unique, although sometimes latent, talents. Many of the artists who have participated in The Cabin LA (La Brea Studio) Residency have since been “discovered” and are experiencing great success in their careers.
<h3><a href="https://www.delvazprojects.org/about">Del Vaz Projects</a></h3>
Del Vaz Projects is a Los Angeles–based nonprofit founded in 2014 by Jay Ezra Nayssan, dedicated to exhibitions, publications, and public programs spanning visual art, performance, and moving image. Through free exhibitions, a research-driven publishing platform, and an artist production fund, Del Vaz Projects supports underrepresented and underfunded voices while partnering with cultural institutions across the city. Rooted in an ethos of openness and collective inquiry, the space champions multiracial, international, and LGBTQIA+ perspectives, cultivating ambitious work grounded in community and dialogue.
<h3><a href="https://lobster-club.com/">Lobster Club</a> </h3>
Lobster Club is a nomadic artist collective that stages salon-style group shows with a community-first ethos.  The platform creates an elevated yet unpretentious atmosphere where artists, mainly emerging, retain a greater share of sales than the traditional gallery model. With mentorship, residencies, and an international roster spanning disciplines, Lobster Club positions itself as both incubator and alternative to the conventional market system. Lobster Club will be hosting its fourth annual group show during Frieze week, be sure to check it out!
<h3><a href="https://halfgallery.com/">Half Gallery</a></h3>
<h3><a href="https://www.google.com/search?q=hauser+and+writh+dtla&amp;oq=hauser+and+&amp;gs_lcrp=EgZjaHJvbWUqBggAEEUYOzIGCAAQRRg7MhAIARAuGMcBGLEDGNEDGIAEMg0IAhAuGK8BGMcBGIAEMg0IAxAuGK8BGMcBGIAEMgYIBBBFGEAyBggFEEUYOTIHCAYQABiABDIGCAcQRRg80gEIMTQyMmowajeoAgCwAgA&amp;sourceid=chrome&amp;ie=UTF-8">Hauser and Wirth DTLA</a> </h3>
<h3><a href="https://www.nightgallery.ca/">Night Gallery</a></h3>
<h3><a href="https://www.sea-view.us/">Seaview Gallery</a> </h3>
<h3><a href="https://www.lalomaprojects.com/">La Loma</a></h3>

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<h1 style="text-align: center;">EAT &amp; DRINK</h1>
<a href="https://www.anajakthai.com/">Anajak</a> 
<a href="https://www.alltimelosangeles.com/">All Time</a> 
<a href="https://www.gjusta.com/">Gjusta &amp; Gjusta Grocer </a>
<a href="https://theapplepan.com/">The Apple Pan</a> 
<a href="https://www.chateaumarmont.com/">Chateau Marmont</a> 
<a href="https://manuela-la.com/">Manuela</a> 
<a href="https://www.maloucoffee.com/">Malou Coffee</a> 
<a href="https://bubandgrandmas.com/">Bub &amp; Grandmas</a>

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<h1 style="text-align: center;">SHOP</h1>
<a href="https://www.arcanabooks.com/">Arcana Books</a> 
<a href="https://www.thefutureperfect.com/?srsltid=AfmBOoq0BusXj4wUY5T5m57RZzh937vwhgnFZz0YVEz_ozlSykrjp6Ax">The Future Perfect</a>
<a href="https://www.scoutla.net/">Scout LA </a>
<a href="https://flamingoestate.com/?srsltid=AfmBOooT_yzID6xaA96CgaIgnUAmK8kpnHQyxY8EYJZYY67o8GtIXom9">Flamingo Estate</a> 
<a href="https://okthestore.com/?srsltid=AfmBOoqjF_RWKIcipIaTscjXQPqAKwjgVfvxlQP8_fBil23R9VqJK4uu">OK</a> 
<a href="https://www.mohawkgeneralstore.com/?srsltid=AfmBOopHwCveUsd3roQCwygAG9mwU8on0BVPKy8Ck6c-WSbJedbBSCfb">Mohawk General Store </a>

Whether you’re a Los Angeles aficionado, or new to the city, we’re here to help guide you in and outside of the Frieze madness to help you understand why we love this city as much as we do. 


The newcube Los Angeles Art Guide

The newcube Los Angeles Art Guide - newcube.

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bzavieh@newcube.art

Mexico City is alive with color, history, and creativity, and we can’t wait to experience it at Zona Maco, one of Latin America’s most dynamic contemporary art fairs, this week.  If you’ll be in CDMX, here’s where you can experience the city’s creativity, culture, and community, firsthand.

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<h1 style="text-align: center;">SEE</h1>
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Mexico City’s art scene is rooted in a layered cultural history, from pre-Columbian traditions and brutalist architecture to avant-garde contemporary spaces. The city thrives on dialogue between past and future, where museums, independent spaces, and public projects coexist with a rich urban fabric that constantly inspires both local and international creatives.
<h3>Luis Barragán Houses</h3>
A UNESCO World Heritage Site and masterpiece of modern architecture, the <a href="https://www.casaluisbarragan.org/eng/en_index.html">Luis Barragán Houses</a> offer an intimate look into the work of one of Mexico’s most influential architects. The interplay of light, color, and space here continues to influence architects and artists worldwide.
<h3>Frida Kahlo House </h3>
<a href="https://www.museofridakahlo.org.mx/?lang=en">La Casa Azul</a> in Coyoacán, the former home of Frida Kahlo, remains an essential pilgrimage for anyone interested in Mexican culture and artistic identity. The museum preserves the artist’s personal space, creative environment, and enduring legacy.
<h3>Biblioteca Vasconcelos</h3>
Sometimes referred to as the “<a href="https://bibliotecavasconcelos.gob.mx/">mega-library,</a>” this striking cultural institution blends architectural ambition with public engagement. Designed as an urban living space for books, research, and reflection, it’s a testament to how culture can transform city life.
<h3>AGO Projects </h3>
A new <a href="https://ago-projects.com/">creative hub</a> dedicated to presenting ambitious programming that supports experimental practices, from performance to installations, offering fresh perspectives on contemporary culture.
<h3>MUAC (Museo Universitario Arte Contemporáneo) </h3>
Situated within UNAM, <a href="https://muac.unam.mx/">MUAC</a> is one of Mexico’s foremost contemporary art museums, showcasing experimental works and site-specific commissions that explore critical issues across global contemporary art.
<h3>Laguna </h3>
An innovative cultural space blending exhibitions, events, and collaborative projects, <a href="https://lagunamexico.com/">Laguna</a> reflects a younger generation’s approach to curatorial experimentation and artistic risk-taking.

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<h1 style="text-align: center;">GALLERIES +  ART SPACES</h1>
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Mexico City’s gallery scene is one of the most vibrant in the Americas, offering a mix of local powerhouses and international-minded programs that push boundaries.
<a href="https://www.instagram.com/magideye/">Jeff Magid Collection @ Cuernavaca 3</a> &#8211; Collector Jeff Magid opens his collection to the public for the first time. Housed in a beautifully restored Porfirian-era building in Colonia Condesa, the space was renovated by architect Carlos Zedillo, preserving its historic character while creating an intimate setting for viewing art. The inaugural presentation brings together works by Leonor Fini, Lisa Yuskavage, Francis Picabia, and Diego Rivera, offering a close, thoughtful encounter between art, architecture, and audience.
<a href="https://saengergaleria.com/exhibitions/89-cuerpo-gesto-e-historia/">Saenger Galería</a> &#8211; For Art Week Mexico 2026, Saenger Galeria will present Cuerpo, Gesto e Historia,  a group painting exhibition that creates a dialogue among artists whose practices span over a century of Mexican art history. The exhibition explores an expanded genealogy of painting and drawing as living, bodily languages.
<a href="https://www.kurimanzutto.com/">Kurimanzutto</a> 
<a href="https://www.omr.art/">OMR</a>
<a href="https://nordenhake.com/">Nordenhake</a>
<a href="https://travesiacuatro.com/eng/">Travesía Cuatro</a>
<a href="https://www.pequodco.com/">Pequod Co</a>
<a href="https://www.google.com/search?q=fundacion+casa+wibi&amp;oq=fun&amp;gs_lcrp=EgZjaHJvbWUqBggAEEUYOzIGCAAQRRg7MgYIARBFGDkyBggCEEUYQDIGCAMQRRg7MgoIBBAAGLEDGIAEMhMIBRAuGIMBGMcBGLEDGNEDGIAEMhAIBhAuGMcBGLEDGNEDGIAEMgYIBxBFGDzSAQc4ODJqMGo3qAIAsAIA&amp;sourceid=chrome&amp;ie=UTF-8">Fundación Casa Wabi</a>

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<h1 style="text-align: center;">EAT + DRINK</h1>
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Mexico City is a culinary playground that should be at the top of every foodies list. This vibrant metropolis offers an unmatched gastronomic adventure, blending centuries-old traditions with modern innovation. From sizzling street tacos to inventive fine dining, the city satisfies every palate, curiosity, and budget. 
<a href="http://www.contramar.com.mx/">Contramar</a> &#8211; If this is your first time in Mexico City, a meal at Contramar is essential. And if this is your tenth time in Mexico City, a meal at Contramar is still essential. It’s on everyone’s list for a reason. 
<a href="https://rosetta.com.mx/en">Panadería Rosetta</a> &#8211; You can’t talk about Panaderia Rosetta without mentioning the Guyana roll. The textbook-perfect baked treat has single-handedly thrust this snug Roma bakery. From the same chef behind Rosetta, this bakery is an instant Mexico City classic. The bakery has found the sweet spot between Mexican and European styles, featuring fluffy focaccias, pan de pulque, and buttery scones. 
<a href="https://www.vigneron.mx/">Vigneron</a>
<a href="https://www.lasbrujas.mx/">Las Brujas</a> 
<a href="https://www.instagram.com/micompachava/?hl=en">Mi Compa Chava</a>
<a href="https://martinez.rest/">Martínez</a>
<a href="https://www.instagram.com/la.ochenta.y.nueve/?hl=en">La 89</a>

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<h1 style="text-align: center;">SHOP</h1>
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Mexico City is a treasure trove for design lovers, where local craftsmanship meets innovative concept stores. From artisanal objects to cutting-edge lifestyle spaces, there is something for everyone. 
<a href="https://numendesignstore.com/?srsltid=AfmBOooKqG5cdSTDM4UkpUTka6SykuiVSPSB3qex2FGXT3_kKwIkcq5I">Numen Design</a>
<a href="https://aureliaconceptstore.com/en-gb">Aurelia Concept Store</a> 
<a href="https://xinuperfumes.com/?srsltid=AfmBOooiwOm2kC-u4-ByJUjGRLrZdqvBqos94d5zVaOVR3dA6uHspYuO">Xinu Perfumes</a>
<a href="https://www.instagram.com/lenguaconcept/">Lengua Concept</a>
<a href="https://www.instagram.com/cardon_mx/?hl=en">Cardón</a>
If you’re hitting the Mexico City road, you might run into the newcube team out there! Enjoy!

Mexico City is alive with color, history, and creativity, and we can’t wait to experience it at Zona Maco, one of Latin America’s most dynamic contemporary art fairs, this week.  

The newcube Mexico City Art Guide

The newcube Mexico City Art Guide - newcube.

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<h1>We’re one month into 2026 everyone is predicting what the year has in store for the art world.  </h1>
Most of the forecasts are market-driven, anticipating steady growth for blue-chip galleries and the secondary market, highlighting the Gulf as a defining region, and positioning art financing as increasingly legitimate and stable.
But often, these projections forget the true drivers of the market: the people who shape culture, whose eyes aren’t just observing, but actively engaging. 
Collecting is no longer about objects, it’s about experiences. And by ‘experience’,  we don’t mean immersive spectacles or Instagram-ready installations. We mean relationships: visiting a studio, meeting an artist, supporting work at its earliest stage. Patronage is returning, and it’s coming back in full swing. The market isn’t just about collectors anymore; it’s about active participants, people who want to contribute, to support artists and curators they believe in, even if they never buy a single work. ‘Art’ becomes less something you consume and more something you belong to, a form of exchange, a way of giving back for the way it moves you.
We can’t help but think that this shift in collecting, this intimacy that comes with viewing, is directly correlated to our favorite forecast of 2026 &#8211; that this year is the year of the female collector. The UBS basel report shows that not only are women spending 46% more than their male counterparts, but they’re also investing in women. Meaning the art historical canon is shifting as we speak.

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In 2026, we expect women artists to take center stage: major museum exhibitions of Tracy Emin, Frida Kahlo, Ana Mendieta, Rose Wylie, Gwen John, Sophie Calle, Catherine Opie, Beatriz González, Marina Abramović, Leonora Fini, Lorna Simpson…. and my god, the list goes on.
But these shows wouldn’t exist without decades of patronage driven by women. The woman collector is far from new. Figures like Gertrude Stein, Peggy Guggenheim, and Abby Rockefeller have been championing artists before they were widely recognized, challenged conventional collecting practices, and redefined what it meant to be a patron. Now, we see history repeat itself with collectors like Komal Shah, Sarah Arison, Maria Sukkar, Komal Shah, Carla Shen, Che Xuanqiao, Nish McGree, Victoria Rogers, Mana Jalalian, Basma AlSulaiman and Jenny Yeh &#8211; and those are just the few we can name off the top of our heads. In celebration of these women and the many who will drive the ecosystem in 2026, we’ve spotlighted a few of our favorites: 
Beyond collectors, pioneering female dealers such as Barbara Gladstone, Esther Schipper, and Sadie Coles and the late Marian Goodman, provided platforms for groundbreaking artists, often before the mainstream art world was ready. Their influence continues today through a new generation &#8211; with Pilar Corrias, Vanessa Carlos, Mariane Ibrahim or Jessica Silverman to name a few &#8211; working to ensure greater visibility and representation for women in art. The contemporary art market as we know it wouldn’t exist without them.

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<h2>Peggy Guggenheim 
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Peggy Guggenheim transformed modern art through her bold vision and unparalleled collection. Guided early by Marcel Duchamp, she developed a sharp eye for innovation, acquiring key works by Picasso, Dalí, Mondrian, Léger, and Ernst &#8211; often during World War II, preserving them from wartime destruction. In New York, her gallery, Art of This Century, placed European Surrealism alongside emerging American artists, playing a decisive role in the rise of Abstract Expressionism with figures like Jackson Pollock, Mark Rothko, and Robert Motherwell. By exhibiting at the Venice Biennale in 1948 and establishing a permanent museum in Venice, Guggenheim helped legitimize American modernism and cemented her legacy as a transformative force in 20th-century art.
<h2>Dominique de Menil</h2>
Dominique de Menil’s impact came from her intellectual rigor, ethical commitment, and expansive vision. Alongside her husband, she built one of the most significant private modern art collections in the U.S., emphasizing quality, spirituality, and social meaning, with works by Magritte, Ernst, Klein, Rothko, Pollock, and Twombly. Unlike collectors driven by spectacle, de Menil saw art as a vehicle for ethical reflection and dialogue, supporting experimental artists and commissioning site-specific works. Her influence extended to institution-building, most notably the Menil Collection in Houston, which prioritized accessibility, contemplative viewing, and architectural harmony, redefining the role of the modern art museum.
<h2>Lillie P. Bliss</h2>
Lillie P. Bliss was a pioneering American collector whose early support of modern art helped establish it in the United States. Her collection included European and American avant-garde works by Picasso, Cézanne, Braque, Matisse, Marsden Hartley, and John Marin. Bliss was also a founding trustee of the Museum of Modern Art in New York, contributing key works to its early exhibitions and helping position MoMA as a central hub for modernist art. Through her collecting and strategic support of artists and institutions, Bliss played a crucial role in shaping 20th-century American art.

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<h2>Komal Shah 
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Komal Shah’s impact lies in her rigorous correction of art history’s gender imbalance. Through the Shah Garg Collection, she has assembled a major body of modern and contemporary works exclusively by women artists, foregrounding abstraction, material innovation, and overlooked legacies. Her collecting is inseparable from advocacy, scholarship, and institutional change.
<h2>Maria Sukkar</h2>
Maria Sukkar’s collecting is driven by a sustained inquiry into identity, vulnerability, and the psychological self. Her ISelf collection brings together modern and contemporary works, often by women, that probe embodiment, trauma, and desire, with artists such as Cindy Sherman, Tracey Emin, and Yayoi Kusama. Beyond collecting, her influence extends through institutional engagement, shaping acquisitions and discourse at major museums.

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<h2>Che Xuanqiao</h2>
Che Xuanqiao operates at the intersection of collecting, curating, and institution-building in China’s contemporary art scene. Through the Macalline Art Center and her collection, she champions experimental practices that explore technology, the body, and posthuman futures. Her influence comes from creating sustained platforms rather than singular trophies.
<h2>Nish McCree</h2>
Nish McCree’s collecting centers on contemporary African and diasporic artists, shaped by a commitment to ecosystem-building rather than market visibility. Based in Ghana, she supports artists through mentorship, infrastructure, and long-term engagement. Her collection reflects a belief in art as cultural continuity and social investment.

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Victoria Rogers Portrait Home

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<h2>Victoria Rogers 
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Victoria Rogers approaches collecting as a form of cultural stewardship and institutional critique. Her collection foregrounds artists of color and women working in contemporary practice, often engaging themes of history, power, and representation. Through board service and philanthropy, she works to realign museums with more equitable narratives.
<h2>Basma Al-Sulaiman</h2>
Basma Al-Sulaiman’s collection reflects both global ambition and regional responsibility. Spanning Western modernism, Chinese contemporary art, and Middle Eastern practices, it is anchored by a commitment to accessibility through initiatives like BASMOCA. Her work reframes collecting as a mobile, public-facing institution.

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<h2>Mana Jalalian 
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Mana Jalalian’s collection bridges Iranian modernism and global contemporary art, emphasizing dialogue across geographies and generations. With hundreds of works shown internationally, her approach treats collecting as a public, educational act rather than a private pursuit. Her influence lies in using art to collapse cultural distance.
<h2>Jenny Yeh</h2>
Jenny Yeh’s vision centers on scale, immersion, and public encounter. Through the Winsing Arts Foundation, she has built a collection of large-scale installations and conceptual works that resist domestic display and demand shared experience. Her influence lies in transforming private collecting into a civic cultural space.
So, alongside the data and the markets and all these predictions tied to numbers, we’re also predicting that 2026 will mark the shift between not just seeing, but feeling, subverting the gaze, making real world connections in a culture that insists we live online, investing with our hearts,  creating and engaging with art for art’s sake, and so much more. 
To explore more women collectors and their stories, check out our collector series in newcube Magazine.

One month into 2026 and everyone’s predicting what the art world has in store. Our favorite prediction? The year of the female collector. Women are shaping institutions, backing women artists, and turning art into something you participate in, not just consume.

2026: The Year of the Female Collector

2026: The Year of the Female Collector - newcube.

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<h3>It’s already 2026, somehow. The fair season kicks off in San Francisco, and FOG Design + Art is where our Founder,  Bibi Zavieh, will be starting. If you&#8217;ll be there, you can find us at the following spots!  </h3>

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Sheila HIcks

<h1 style="text-align: center;">SEE</h1>
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<h4>We can’t think of the San Francisco art scene without thinking of newcube friend and collector, <a href="https://www.newcube.art/article/the-wonderful-world-of-art-patron-and-collector-pamela-hornik">Pamela Hornik</a>. Pamela’s collection epitomizes what makes SF so unique &#8211; it’s passionate, personal, and generous. </h4>
<h4>San Francisco has long been a city where experimentation, counterculture, and community shape the way art is made and experienced. From artist-run spaces and nonprofit institutions to blue-chip galleries and unconventional venues, the city’s art ecosystem reflects a deep commitment to process, dialogue, and risk-taking. Rooted in both historical movements and emerging voices, San Francisco offers a landscape where art feels lived-in, socially engaged, and continually evolving.</h4>
<h3>ICA at Transamerica </h3>
ICA SF partners with SHVO at Transamerica Pyramid Center to present Stratagems, a series of large-scale sculptures by <a href="https://www.icasf.org/">Tara Donovan</a>. The exhibition exemplifies ICA SF’s nomadic model, positioning the Transamerica Pyramid Center as an active collaborator and expanding how contemporary art engages with the city. Constructed from thousands of recycled CDs, the vertically oriented works respond to shifting light and atmosphere, creating an evolving dialogue with the building’s architecture. 
<h3>Sheila Hicks @ SF Moma </h3>
<a href="https://www.sfmoma.org/exhibition/new-work-sheila-hicks/">Sheila Hicks’s</a> first solo exhibition at SFMOMA showcases her groundbreaking fiber-based practice, spanning intimate weavings to monumental, site-specific installations. Inspired by textures, patterns, and landscapes from her life and travels, the presentation features vivid comets of layered lines, a towering central “phare” of suspended cords, reimagined wrapped “bâtons,” and vibrant fiber mounds, highlighting her continual experimentation with material and form. 
<h3>Cantor Arts Center</h3>
The Cantor Arts Center is presenting <a href="https://museum.stanford.edu/exhibitions/shahzia-sikander-collective-behavior">Shahzia Sikander</a>: Collective Behavior, a career-spanning exhibition of the internationally acclaimed artist, now in its final days. The show highlights Sikander’s transformative engagement with South Asian visual histories, diasporic experience, and feminist perspectives, spanning media from miniature painting to digital animation. Organized around her recurring forms and ideas rather than chronology, the exhibition situates Sikander as a global artist reshaping historical narratives, and marks the most significant solo presentation of an Asian American artist connected to the Cantor’s Asian American Art Initiative.
<h3>De Young &#8211; Rose B. Simpson </h3>
The de Young presents <a href="https://www.google.com/search?q=rose+b+simpson+de+young&amp;oq=rose+b+&amp;gs_lcrp=EgZjaHJvbWUqCQgAEEUYOxiABDIJCAAQRRg7GIAEMgcIARAuGIAEMgYIAhBFGEAyBggDEEUYOTIHCAQQABiABDIHCAUQABiABDIGCAYQRRg8MgYIBxBFGDzSAQc4NjVqMGo3qAIAsAIA&amp;sourceid=chrome&amp;ie=UTF-8">Rose B. Simpson</a>: LEXICON, the artist’s first solo exhibition at the museum, celebrating Pueblo art and culture. The installation features two customized classic cars, Maria (1985 Chevy El Camino) and a newly commissioned 1964 Buick Riviera, painted with Pueblo pottery motifs and surrounded by an expansive site-specific mural evoking the Southwest. Simpson’s work connects ancestral traditions with contemporary forms, exploring identity, mobility, and cultural continuity while linking Lowrider car culture with Pueblo artistic practices.

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<h4>Aside from the museums, we’re spotlighting some of our favorite galleries who are doing things differently. </h4>
<a href="https://jessicasilvermangallery.com/">Jessica Silverman</a> &#8211; Rebecca Manson: Time, You Must Be Laughing at Jessica Silverman Gallery presents the New York–based artist’s debut solo exhibition with the gallery, featuring 13 porcelain sculptures that magnify nature’s microcosms into large, tactile forms. The show explores the relationships between bodies, time, and the natural world, where beginnings and endings coexist with both vulnerability and resilience
<a href="https://www.hashimotocontemporary.com/exhibitions/307-doggone-delightful-group-exhibition/">Hashimoto Contemporary</a>
<a href="https://www.glassrice.com/current.html">Glass Rice</a>
<a href="https://friendsindeed.art/">Micki Meng</a>
<a href="https://etaletc.com/">Et Al.</a>
<a href="https://rebeccacamacho.com/about/">Rebecca Camacho Presents </a>

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<h1 style="text-align: center;">SHOP </h1>
<h4></h4>
<h4>San Francisco is a playground for shoppers who love artisanal, locally made treasures. From boutique ceramics and handmade textiles to independent clothing labels and one-of-a-kind home goods, the city’s neighborhoods are full of small shops that celebrate craft and creativity.</h4>
<a href="https://www.risingstarlaundry.com/">Rising Star Laundry</a>
<a href="https://evankinori.com/collections/current-editions">Evan Kinori</a>
<a href="https://bernalcutlery.com/en-gb?srsltid=AfmBOoqES0zwWo-Hrj2Pk7aP2E-XKMWHE6nMV0-GU5_XcXkfGNLo8wTD">Bernal Cutlery</a>
<a href="https://macmodernappealingclothing.com/">Modern Appealing Clothing</a> 
<a href="https://www.heathceramics.com/?srsltid=AfmBOorb5DEpySvzVxly6PEG9B3ce9o4GaNpXEmFwLB1Jw88EUfEs2OY">Heath Ceramics</a>

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<h1 style="text-align: center;">Eat + Drink</h1>
<h4></h4>
<h4>San Francisco’s food scene is a vibrant mix of global flavors, local ingredients, and culinary innovation. From bustling taquerias and dim sum halls to Michelin-starred restaurants, the city has long been a hub for food pioneers. Alice Waters, the legendary chef and founder of Chez Panisse, helped put California’s farm-to-table movement on the map, inspiring generations of chefs to prioritize seasonal, sustainable, and locally sourced ingredients. Her influence still resonates today, shaping a city where creativity, community, and a love of fresh food come together on every plate.</h4>
<a href="https://www.barjabroni.com/">Bar Jabroni</a> &#8211; For a cozy, convivial spot before or after the fair, Bar Jabroni is a Lower Haight wine bar made for mingling. It’s the kind of place where you sip delicious wines, share small plates, and enjoy the quaint local side of the city. 
<a href="https://truelaurelsf.com/">True Laurel</a>
<a href="https://www.meetatgigis.com/">Gigi’s Wine Bar</a>
<a href="https://www.sideasf.com/">Side A</a>
<a href="https://zunicafe.com/">Zuni Cafe</a>
<a href="https://sightglasscoffee.com/?srsltid=AfmBOoodDapgduITZexW8AP9ezO1nfW0f7xS4POHRB2yW77_obflO9in">Sight Glass Cafe</a>

<h2><a href="https://www.newcube.art/article/the-wonderful-world-of-art-patron-and-collector-pamela-hornik">Read more about Pamela Hornik and her collection.</a></h2>
The art world feels somewhat small, and when we see a collector who is truly passionate, dedicated and generous, we recognize them. It wouldn’t take long for anyone in conversation with Pamela Hornik to feel that she is a truly passionate collector who truly cares about artists and who truly wishes to support those making it work in the art world. After a virtual meet and greet with Pamela, our founders Bibi and Claire spent some IRL time with her in London, during the busy Frieze week. We didn’t make it to tea time – Pamela doesn’t drink tea – but we had a sunny morning coffee meetup during which we chatted about art, dogs and the state of the (art) world. It was a fun and inspiring meet up, at a time where the world seems to be going mad!
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It’s already 2026, somehow. The fair season kicks off in San Francisco, and FOG Design + Art is where our Founder, Bibi Zavieh, will be starting. If you'll be there, you can find us at the following spots!  

The newcube San Francisco Art Guide

The newcube San Francisco Guide - newcube.

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The newcube artist residency in St-Martin-le-Gaillard. Courtesy of newcube & moulin Zavieh

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As part of the newcube’s sought after artist residency in Normandy, we brought together artist Ryan Wilde and gallerist Brigitte Mulholland for a “river-side” chat. Both are shaping thoughtful, materially driven practices, one as a multidisciplinary artist, the other as a gallerist. What follows is an open conversation between the artist, her longtime collaborator, gallerist and friend, and newcube’s founder on their respective creative evolution, working with care, building a life in and around art and the newcube residency in St-Martin-le-Gaillard this summer. 
newcube: Ryan, we’re so excited to host you for this year’s newcube art residency in Normandy. You have just arrived and you will be spending a few weeks in the old mill, in the small village of St-Martin-le-Gaillard. As we start this chat, can you tell us a bit about your artistic journey and how you arrived at your current practice?
Ryan Wilde: Thank you newcube, I’m also so excited to be here. Over the course of my career, my journey has taken several unexpected turns. I began as a ballet dancer, training at the School of American Ballet, but a career-ending injury forced me to pivot. I studied fine art photography in college, where I became fascinated with visual storytelling through the body and costume. This led me to millinery, where I found a tactile, sculptural language that combined craftsmanship, theatricality, and identity. For over a decade, I worked as a milliner, creating hats for fashion houses, celebrities, and opera productions. But over time, I grew disillusioned with the fashion industry’s commercial pressures. I wanted to slow down, ask harder questions, and explore the deeper psychological and cultural meanings embedded in adornment. My current work repurposes millinery techniques and materials into sculptural forms that interrogate gender, labor, and the politics of visibility, drawing from both personal history and theoretical research.
newcube: Brigitte, how about you? How did you get started in the art world? What was your path to becoming a gallerist?
Brigitte Mulholland: I did a few internships while I was in college, including at the Metropolitan Museum of Art. I had originally thought I would do a PhD and get married after undergrad, but thankfully came to my senses a few months before graduating and put an end to both of those plans. I moved to Brooklyn with some friends and a few hundred dollars in my bank account, and just applied to all of the entry-level art world jobs on NYFA. I ended up getting a job at a small secondary market gallery on the Upper East Side, where I started moving up the ranks and learning a ton. I stayed there for about seven years, ultimately becoming Director.
newcube: you moved to Paris about a year ago, how did you end up moving to France and opening your gallery?
Brigitte Mulholland: I loved my time in New York and never thought I would leave, especially after the pandemic and being surrounded by such a great community of friends and artists, like Ryan. But Paris has always really had my heart. When I did my first visa application, I counted all of my passport stamps and saw I had been to France 45 times between 2008 and 2024. It had always seemed like a pipedream, but something shifted. I realized I missed Paris when I was in New York &#8211; and didn’t miss New York as much when I was in Paris. I was at a personal and professional crossroads. During one session with my therapist at the time, she asked me what I would do if I had all the money in the world. I said, “Open a gallery in Paris.” She paused and said, “Well then, why don’t you just do that?”
I found the gallery space in a very serendipitous way as I was walking past a storefront on rue de Turenne. The agent showed me an off-market space he was vacating, and when I walked in, I saw that the exterior was the same shade of turquoise I had used to paint my house. My best friend Sean Fader (who might join Ryan a few days at the residency) was with me and found a photograph of Mulholland Drive hanging on the wall. That sealed it. I told the agent I’d take it.

Brigitte Mulholland, the gallery facade on rue de Turenne in Paris. Courtesy of Brigitte Mulholland & Sean Fader. 

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newcube: That really sounds like it was meant to be! And I absolutely love the energy there is in that space! Ryan, back to you, what drew you to themes like theatricality, gender, and the symbolic weight of clothing?
Ryan Wilde: I’ve always been aware of how clothing shapes perception, how it can protect, seduce, conceal, or expose. Having grown up surrounded by performance and illustration (my father was an artist for Playboy), I understood early on how women’s bodies were often stylized, exaggerated, and commodified. Theatricality and fetishization aren’t just surface-level; they&#8217;re tools of power, control, and sometimes survival. I’m interested in the tension between autonomy and objectification, and how clothing becomes a site where that tension is negotiated. I’m also fascinated by how identity is performed and consumed, how a nurse’s uniform, a bunny suit, or a veil can communicate entire histories or ideologies.
newcube: Brigitte, you’ve said that seeing Ryan’s witch works sparked a kind of urgency. Can you speak more to that?
Brigitte Mulholland: In a lot of ways, I accelerated the timeline for opening my gallery because I saw the work Ryan was making about witches, and would have been insanely jealous if any other gallery got to show it. A lot of the artists I work with are people I’ve wanted to work with for years &#8211; and now that I’m the boss and make those decisions, we do. It’s a lot of fun. In addition to how lucky I have been to know and meet all of these amazing artists over the years including Ryan, my process for the roster and curation of the gallery is quite intuitive, especially after so many years of experience &#8211; a lot of it is just seeing something that grabs me, and knowing that I want to show it. I do have a tendency to work with women and queer artists, as that is just the work that resonates with me the most, and they’re also the people I generally want to spend the most time with.
newcube: Ryan, how would you say your background in millinery has shaped your current approach?
Ryan Wilde: Millinery gave me a deep respect for process, precision, and material intelligence. It taught me how to shape form from tension, steam, wire, felt, buckram, and binding: all methods of coaxing something soft into something structural. I still use these materials and tools, but I like to recontextualize them to tell different kinds of stories. The head remains central in my work because it’s both intimate and public, a site of identity and spectacle.

The Artist Ryan Wilde. Courtesy of the Artist. 

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newcube: What made you interested in applying to the newcube artist residency in Normandy?
Ryan Wilde: I was drawn to newcube’s residency for its rare combination of quietude and conceptual openness. The rural setting offers the kind of stillness that’s difficult to access in city life, especially as someone navigating both artistic production and daily survival in New York and Paris. I’m excited by the opportunity to slow down, step outside the demands of deadlines and exhibitions, and enter a space that encourages material experimentation and sustained thinking. I also was drawn to the residency focusing on family, and I wanted to attend with my extended family and friends which is rare &#8211; or impossible &#8211; in any other residency program. 
newcube: Are there specific projects you will be focusing on during the residency?
Ryan Wilde: I’ve been writing a book for the past year that weaves together personal narrative, feminist theory, and the cultural history of clothing. At St-Martin-le-Gaillard, I’m excited to finally consider the book not only as a text, but as an object. I plan to begin exploring ideas for its physical structure, including small-scale wood carving, hand-stitched elements, and embroidered pages or covers. 
 
newcube: How does this quieter environment impact your work?
Ryan Wilde: A rural setting allows me to recalibrate my pace and attention. My work often involves intricate, time-intensive techniques, such as embroidery, hand carving, and book-making, that require stillness and deep focus. In a natural environment, I’m less distracted by the demands of visibility and productivity that dominate urban life. The physical quiet and spatial openness make room for conceptual clarity.
Being in the countryside also shifts how I relate to scale, encouraging me to think more intimately, more slowly, and with greater care toward material. It offers a space where thinking and making can converge organically, and where small gestures, like a stitch or a carved line, can feel expansive rather than peripheral.

Ryan Wilde at the newcube artist residency in St-Martin-le-Gaillard, July 2025. Courtesy of the artist & newcube

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newcube: Brigitte, as a gallerist who has supported artists throughout their careers, what advice would you give to emerging and mid-career artists?
Brigitte Mulholland: You have way more power and agency than you think. Galleries don’t exist without artists &#8211; don’t ever forget that. Trust your instincts, and don’t let insecurity guide your decisions. And most importantly: there’s not a single artist in history who’s only ever gone up. Look at the long game. Keep your studio practice sacred. Know who you are and protect that through the ups and downs. 
 
newcube: And for those considering opening a gallery? 
 
Brigitte Mulholland: You have to really want to do it. It’s hard &#8211; of course it’s hard &#8211; but if you really want it, absolutely do it, and enjoy it for everything that it is. I knew I was opening in a down market, and pushed ahead because of it. Galleries that start in tough times often last the longest, because you learn to adapt. There are ups and downs, but if you’re doing it because you love it, that’s the only reason that really matters.
newcube: There’s a sense of rebirth in the French art scene these days, many galleries have opened spaces, auction houses have expanded their team in Paris, collectors pick Paris over London (or even Basel) during fair season, the Parisian art scene seems to be thriving. Have you felt a shift in any way?
Brigitte Mulholland: Absolutely. After so many years of coming to Paris, the city feels palpably different in the past few years, especially the art scene. I think Brexit really changed it as well, and a lot of galleries opened outposts here as a result. Art Basel coming in has also taken the city’s position in the art world to a new level. There are a lot of French galleries &#8211; blue chip, established, and even younger ones, who are extremely successful and interesting and have an important voice in the international art world. It’s truly becoming a major player, and also people just love coming to Paris &#8211; now that there is a real art scene here, it’s another wonderful reason to visit.
newcube: How do you feel the French market is different from or similar to the American market? 
Brigitte Mulholland: In general the market is an international one, and there is still a lot of outreach done over email and social media. In terms of foot traffic, it is nothing like it is in New York &#8211; a fraction of the day-to-day numbers &#8211; but I really like that about the market. There isn’t as much of a frenzy, and the quality of life is slower and nicer. French collectors are extremely thoughtful, and they take their time, which I really love. I have a number of collectors here already, and have met some really amazing new ones as well. They all take their time, love to spend time, and I have incredible conversations with them.

Sarah Dwyer exhibition at Brigitte Mulholland, Paris, 2025. Copyright of Brigitte Mulholland & Sean Fader. 

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newcube: Back to you now Ryan, when you are in your studio, what’s a typical day of work like? 
Ryan Wilde: My studio days are loosely structured. I usually begin by writing, sometimes refining ideas for works in progress, sometimes just observing how I’m thinking. From there, I move between handwork and sketching: steaming felt, shaping buckram, carving wooden forms, or playing with new material. These repetitive gestures help clarify the larger conceptual structure of a piece. I often work in silence, listening helps me think through rhythm and tone. I like having multiple entry points into a workday: physical labor, critical thought, and tactile response.
newcube: you will certainly have a lot of silence at the residency (if the rooster allows!). How do research and historical references play a role in your making?
Ryan Wilde: That rooster is mad!!! But we&#8217;re so happy to be here. Jokes aside, research is really integral to my process. I’m constantly pulling from historical texts, medical illustrations, fashion ephemera, feminist theory, and archival imagery. As Brigitte briefly mentioned early, my work often responds to historical garments or roles, like nurses, witches, or performers, whose identities were shaped or obscured through clothing. I don’t aim for historical accuracy, but rather emotional or symbolic resonance. Research helps me excavate visual and ideological codes embedded in materials and forms. It gives depth to the surface and allows the past to quietly haunt the present in the work.
newcube: Who or what are some key influences on your work right now?
Ryan Wilde: Lately I’ve been deeply influenced by time spent in archival and museum spaces like the Morgan Library, the Frick Collection, and the New York Public Library’s special collections. I find myself drawn to objects that weren’t originally framed as art, hand-bound books, devotional textiles, ornamental tools, especially those made by women whose work was historically dismissed as domestic, decorative, or anonymous. These fragments carry not just aesthetic weight, but evidence of lived attention, of care and constraint in equal measure. I’m interested in how those gestures persist, quietly, across centuries.
newcube: Are there any texts, films, or visual references that have recently inspired you over the years? 
Ryan Wilde: I’ve been reading and re-reading texts by and about women who made things in isolation or under erasure, craft artists, nuns, embroiderers, women who made books with no intention of publishing. The material and conceptual intimacy in those objects moves me. I’m also inspired by artists like Jamie Kamph, Leonora Carrington, and Louise Bourgeois, who collapsed boundaries between writing, weaving, painting, and sculpture. Visually, I’ve been studying early manuscripts and medieval costumes, not necessarily for historical accuracy but for the way those forms telegraph meaning through silhouette, pressure, and repetition. I’m interested in what we inherit, visually, materially, symbolically, whether we recognize it or not.
newcube: Looking Ahead, are you two working towards a collaboration? 
Ryan Wilde: Yes, I’ll be doing a smaller solo presentation with Brigitte Mulholland next year, which I’m really excited about. Brigitte has been an incredible champion of artists working across disciplines, and our conversations always push the work conceptually. I’m also participating in a few other exhibitions that take a more playful approach; exploring costume, character, and narrative through sculpture and installation. I’m interested in showing work that blurs the line between object and persona, especially as it relates to clothing and constructed identity.
This residency will allow me to think and work in ways that are slower, more tactile, and materially experimental, something difficult to do amid the logistics of preparing for shows. I’m hoping to use this time to deepen the conceptual structure of my book project and to explore new formats, like embroidered pages and carved covers. I also see this as a chance to develop smaller sculptural works and studies that might inform future large-scale pieces. Ideally, what begins at St-Martin-le-Gaillard becomes the quiet foundation for much more public work in the coming year, work that’s been metabolized, not rushed.
newcube: Well, we cannot wait to see the result of these few weeks! Let’s end with a few quick questions. 
A material you can’t live without? 
Ryan Wilde: felt
newcube: An artist you’d love to share a studio with? 
Ryan Wilde: Nick Cave lol 
newcube: One word to describe how you’re approaching this residency? 
Ryan Wilde: Enthusiastically 
newcube: Thank you to both of you! It&#8217;s such a pleasure working alongside such wonderful women in the art world. We truly believe the best comes out of collaboration between people in the art world and we’re really so proud and excited to partner with you both this summer. We very much look forward to seeing&#8217;s what&#8217;s ahead and how this residency program will impact all of us. Ryan, enjoy your time at the residency and see you both soon!

Ryan Wilde, De Lamiis et Indumentis Diaboli, at Brigitte Mulholland. Courtesy of the artist, Brigitte Mulholland & Sean Fader. 

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Ryan Wilde De Lamiis et Indumentis Diaboli

As part of the newcube’s sought after artist residency in Normandy, we brought together artist Ryan Wilde and gallerist Brigitte Mulholland for a “river-side” chat. Both are shaping thoughtful, materially driven practices, one as a multidisciplinary artist, the other as a gallerist. What follows is an open conversation between the artist, her longtime collaborator, gallerist and friend, and newcube’s founder on their respective creative evolution, working with care, building a life in and around art and the newcube residency in St-Martin-le-Gaillard this summer. 

In Conversation at newcube's art residency: Ryan Wilde, Brigitte Mulholland & Bibi Zavieh

In Conversation: Ryan Wilde, Brigitte Mulholland & Bibi Zavieh - newcube.

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Collector Michael Wiener at the ICA in Miami, 2025.

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Everyone knows abstract art is back in full force. Some talk about the figuration bubble bursting, while others claim they crave more freedom to interpret the art around them. But the truth is, Abstract Art was never dead. And Figurative Art will never die. But this is always a fun conversation to have. The New York and Miami based collector Michael Wiener is an art patron in the truest sense of it and a collector with an eye for young talents. Also known as the “Admirer of the Abstract” on Instagram, we met with Michael to speak about his trajectory in the art world, the artists he has his eye on and why he chose to focus his collection predominantly on abstract art. 
Michael, it’s a pleasure to connect again. You’ve been collecting art for over 30 years, first in New York and most recently in Miami where you also live for part of each year. What has your collecting journey been like and how did you first fall in love with art? 
Michael Wiener: Yes, certainly great to connect with you Bibi, and to see all that you have accomplished with newcube. About 34 years ago I purchased my first piece of art. It was a lithograph by Yaacov Agam. I found myself studying it each day, I was captivated by the work. At the beginning I was collecting rather aimlessly, mostly modernists but was interested in knowing more. With a desire to explore more of art history, I bought my first abstract expressionist work by Elaine De Kooning, a good size canvas from the 1950s. After living with that painting, I was hooked and I collected ABEX works for about 20 years, building a museum quality collection focused on the 1950s. 
Once that goal was complete, I wanted to see more artists working with Abstraction. Ultimately, that led me to collecting emerging artists, which also gave me the opportunity to engage with artists at the start of their careers. I collect with the same passion, but have transformed that drive into supporting the artists and the galleries where it really matters. I now spend most of my time doing studio visits, seeing shows, and discovering new practices by young talents. This has been truly intriguing and fulfilling.
As a collector and art patron, it’s important to support institutions. 
MW: Absolutely. I actively loan works from my collection to museums and currently have a painting by Kate Meissner on loan to her exhibition at Abroms-Engel Institute for the Visual Arts in Alabama. It’s a real joy to see these works shared with new audiences and traveling for museum exhibitions around the country or abroad. 
Now, tell us more about your collection. We already know you admire abstract art and we appreciate your support of up and coming artists.
MW: I am partial to gestural abstraction and collect artists whose works I love and find transformational. A big part of what I enjoy is the pursuit of discovering these artists. Some of the favorite works in my collection are by artists such as Mannat Gandotra, Wenhui Hao, Tsai Yanju, Sylvia Ong and Sarah Martin-nuss. 
Most recently, I acquired a painting by the young artist Justin Robinson from Danny First’s The Cabin in Los Angeles – a residency Robinson just completed. I love the composition of his painting and his brilliant use of color, which I believe was influenced by his time working as Eddie Martinez’s assistant. I am now proudly hanging that work in my Miami residence.

Gwen O'Neil, Expecting to Fly, 2021. Michael Wiener's Private Collection. 
Courtesy of the artist.

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As a collector with an eye for catching talents early, who are the artists you currently have your eye on? 
MW: Tara Downs just closed an exhibition featuring the works of Nizhonniya Austin (the exhibition was on view until February 22). Her work is exceptional and I was lucky enough to acquire a painting by her. These powerful works are rendered in saturated and bold colors and chronicle deeply personal histories. I also have my eye on a recent RCA grad, Seohyun Oh. Seohyun’s work is inspired by nature, and animal/tree spirits and she explores the interconnectedness of life through a unique interplay of color, form and rhythm – a practice to watch. Seohyun is currently part of a two person show at Jack Barrett Gallery in New York City.

Maxwell Wade, Dawn Chorus, 2020. Michael Wiener's Private Collection. 
Courtesy of the artist.

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There are so many great talents out there and most recently, there have been many heated conversations regarding the role and necessity of an art advisor. How do you typically choose the artists whose works you wish to acquire? 
MW: I watch Instagram very closely, and find that as a good place to identify talent early on. I also count on my relationships with many gallerists here and abroad. Attending shows has also been particularly useful, especially art fairs such as Untitled and NADA in Miami. In New York I am also fond of fairs like Independent, NADA and The Armory show. I also have to give a lot of the credit to my art advisor, Dakota Sica, whose eye and input have been invaluable to building my collection. He and I often collect the same artists and the process has actually been super enjoyable. A great art advisor definitely makes all the difference.
We couldn’t agree more. A great art advisor has your best interest at heart and can add so much to your collecting journey and experience. Similarly, given our extensive art advisory services at newcube, I can say that working with genuine art collectors who understand the subtleties and ethics of the art world is also equally valuable!

Mannat Gandotra, In Another Life, 2024. Michael Wiener's Private Collection. Courtesy of the artist.

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At newcube, we work with seasoned collectors who have been acquiring works for decades, but we also advise young collectors who look up to more seasoned collectors like yourself and who are just starting. We give them genuine advice, support them with due diligence, help them identify the best works by the artists they follow, and guide them in the best way possible. What advice would you give to a collector or an art lover who is just starting to collect art? 
MW: This may be cliché, but I would say “only buy what you love.” I would also say to try and collect the best work of an artist… don’t settle, don’t rush. If you really get the collecting bug and want to bring purpose and continuity to your collection, an art advisor, to me, is an invaluable part of this process. The relationship allows you to spend your time exploring art in a more streamlined way while avoiding potential pitfalls. A good advisor can open up doors to works you might not be able to otherwise secure, while at the same time advising you on the quality of the work and its pricing. 
Absolutely! There are great advisors to collectors out there, but unfortunately very few advisors to artists. At newcube, a big part of what we do is to support, guide and advise up and coming artists throughout their career paths. As a collector who’s been building valuable relationships with the artists you collect, what advice would you give to up-and-coming artists today? 
MW: I would tell them to price smart. You can always raise your prices, but it’s hard to lower them. Stay true to what is captivating your collectors initially until you build a solid following and then experiment more at that point, as your collectors will be willing to perhaps follow you over a cliff at that point (but likely not before). It is important for an artist to be able to articulate their practice with others. Last but not least, it is good to have a robust presence on Instagram, as that’s often how artists are first noticed in today’s world.
Thank you for these valuable tips. I particularly appreciate your take on how important it is for artists to be able to articulate their practice. In today’s competitive world, artists need to find ways to stand out and build a reliable support system around them. A big part of what you do as an art patron is to introduce these young artists to galleries or collectors that can help them grow. You’ve worked with galleries to place some artists. Can you tell us a little more about how you see these partnerships work? 
MW: I really enjoy helping young artists, so when I see one that I think is exceptional and whose work hasn’t been shown in the US yet, I try to make an introduction to a few galleries in NYC to see where there is a fit. I am honored that the gallerists trust my eye and know me well from collecting. I have had great success with this and have organized three solo exhibitions this year alone. Half gallery had a solo exhibition of Katherine Qiyu-Su last year and is having another solo currently through March 15th this year. I personally own two of her works and I think it’s still a great opportunity to own this very talented artist’s work. Katherine paints these colorful and fantastic organic patterns on linen, which flicker between abstraction and figuration. 
On an end note, any dream acquisition? 
MW: I have a few. But I would love to own another painting by Mannat Gandotra – I just have to find a wall big enough to fit the painting I have my eye on. Mannat paints big and one of my favorite works I saw in her studio in London this past summer, but it was 9 feet high. It would indeed be a dream to own that painting or one that scale. I see her work as museum worthy. They exude an intense energy and are quite lyrical. Mannat aims to create these visually abstract universes that are alive and that seem endless in a way. They are full of foreign forms in bold colors intertwined with lines, which all come together to create this other world. And she talks so well of her own work, it’s all in all very captivating. 
We also love Mannat’s work and can’t wait to see where she’s headed! We know she’s going places. Thank you Michael! Always a pleasure chatting with you!

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Green Eyes

The New York and Miami based collector Michael Wiener is an art patron in the truest sense of it and a collector with an eye for young talents. Also known as the “Admirer of the Abstract” on Instagram, we met with Michael to speak about his trajectory in the art world, the artists he has his eye on and why he chose to focus his collection only on abstract art. 


Admiring Abstract Art with the Admirer of Abstract Art

Admiring Abstract Art with the Admirer of Abstract Art - newcube.

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Women in the art world are inspiring, driven and hardworking leaders. Megan, an Angeleno and former director at Nino Mier gallery, is the perfect example of an ongoing success story at the top of the art world. Hired as a senior director in 2018 by Nino Mier, she left the gallery in May 2024 at a time when a controversial story subsequently led to the closing of the gallery’s multiple LA locations. Finding the opportunity to take over those same spaces she once worked at, Megan took over the three spaces on Santa Monica boulevard to open her eponymous gallery, <a href="https://www.meganmulrooney.com/" target="_blank">Megan Mulrooney</a>. 
It takes guts and courage to take such a big step, but since its inaugural opening, we’ve seen great shows bring together the best of LA’s artistic community with a much needed focus on intergenerational conversations. 
Megan, it’s a pleasure to reconnect. Congratulations on the opening of your gallery, how exciting! Los Angeles is lucky to have you. First and foremost, it&#8217;s impossible to chat without mentioning the recent wildfires that ravaged LA. Since last Tuesday, more than 180,000 of the city&#8217;s residents have been put under evacuation orders. Many homes have literally turned to ash. This is by far one of the worst natural disasters we have witnessed this century, and dozens of artists have been directly affected as they lost their homes and studio spaces. An entire community is affected by this tragedy. How does it feel to be in LA right now? 
As the world witnessed during the past two weeks, Los Angeles has been devastated by the largest wildfires in the history of the city and tragically the fires continue to burn. While unfortunately the hardships faced by displaced community members will continue long after the fires have ended, it has been heartwarming and uplifting to see how those in the arts have banded together to donate and fundraise for artists, galleries and cultural workers who have suffered the loss of their home, studios and belongings. 
Are there any trusted charities or organization that you&#8217;d like to share with us and with our readers? 
If you would like to contribute to the rebuilding and restoration of the arts community here in Los Angeles Grief and Hope is a campaign whose goal is to fundraise $500,000 to be distributed to artists and art workers who have lost their home and / or studio as a result of the Eaton, Palisades, Sunset, and other fires in the Los Angeles area. You can find more information <a href="https://www.gofundme.com/f/help-rebuild-the-lives-of-las-artists-and-art-workers" target="_blank">here</a>. While this is a broad way to support, another method is to identify the artists who have lost their homes or are displaced as a result of the fires and collect or acquire their work. 
Thank you for sharing this with us. We encourage every one of our readers to support the affected artists in the best way they can, even a few dollars add up and help them rebuild. We are happy to hear the galleries are reopening now, it feels like the positive energy needs to be spread again throughout the city. Now, tell us a little more about you. How did you first enter the art world and how has your journey been so far?
After graduating from NYU, I moved to London to work at Sotheby’s in Mayfair where I started as a floating assistant, before I joined the auction house’s Impressionist &#038; Modern department. After Sotheby’s, my mentor Patrick Van der Vorst, who had opened his private valuation company called St. George Valuations, asked me to join and develop the business under his stewardship. After a few years, I returned to Los Angeles where I worked at several auction houses before deciding to move on to work directly with artists. Before making the change from auction house to gallery, I sat down with collector and founder of Felix Art Fair, Dean Valentine, at Mel’s Diner on Sunset to seek his counsel and discuss which up-and coming-gallery in LA most aligned with my interest in emerging artists. Dean still remains a friend to this day and I’m excited that my gallery will have its inaugural presentation at his fair this February. 
With the 3 spaces of the gallery, you are able to play around with curation in many interesting ways. The gallery focuses on an intergenerational curation with each space speaking to each other and some outside curators joining forces with you. You’re also committed to bringing together some more established artists with new voices in the art world. Can you tell us more about your perspective on the dialogue you are looking to create? 
I am lucky to have a gallery in the heart of West Hollywood. Situated at the beginning of a cul-de-sac, the <a href="https://www.meganmulrooney.com/" target="_blank">gallery</a> is divided into three dynamic spaces that allow for multiple exhibitions at once. Given the nature of the spaces, we are able to create a dialogue among different artists so that each individual exhibition can curatorially align with the other while existing in its own space. The ability to create a conversation between the artists’ exhibitions was something that felt important given my background of working so closely with great mid-career artists as well as more emerging and younger voices. I find it so interesting how artists can work in the same mediums or have similar compositional constructs but be generations apart &#8211; and thus I wanted to foster those conversations and make them visible to the public. My greatest friendships have been intergenerational and I find there is so much to learn from our similarities and differences. It’s this same concept that I hope to apply by showing artists across generations. 
Born and raised in LA, you’re a true Angeleno. Is your gallery focusing on the LA art scene? Can you also talk a little bit about your take on the community aspect and how you are trying to create a strong community through the gallery and its programming. 
In recent years, the city has seen an influx of out-of-state galleries opening their second spaces in Los Angeles with a focus on bringing artists from outside of California to exhibit. However, these large galleries focus on bringing their existing program to LA and thus there is still a need for LA galleries to show local, LA-based artists. When starting the gallery I received great advice from artist Jon Pylypchuk and gallerist David Kordansky who both recommended I focus on creating a community by showing Los Angeles artists. I’ve been thinking a lot about how the physical space of the gallery should foster community by encouraging people to gather and discuss art, culture, ideas and politics. I have been programming the forthcoming year with this principle in mind bringing together an artist like Drake Carr who will do live portraiture of influential Angelenos during his “Sit-Ins” series contrasted with LA-based Nick Taggart’s 1970s portraits of models, musicians, and actors as well as famous places from the Sunset Strip to Echo Park.

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Which galleries have inspired you throughout your career? 
When I think of Los Angeles galleries the names that always come to mind are Ferus Gallery, China Art Objects, Black Dragon Society, Suzanne Vielmetter, Regen Projects, Blum &#038; Poe, and David Kordansky. I am also so inspired by the many transient gallery spaces within LA and I have been in awe of their innovative approach to showing art. 
Do you also collect? As a collector, what was the first and last artwork you’ve acquired? How do you typically select the artists you add to your personal art collection and to the gallery programming? 
I do collect! The first artwork I ever bought was a pastiche of Francisco Goya’s “Saturn Devouring His Son” at the gift shop of his birthplace in Fuendetodos. It remains my most favorite work of art in my collection and would even travel around with me &#8211; at one point I had it in the glovebox of my car!! &#8211; sounds pretty dark right?. Then in my twenties I began collecting more seriously &#8211; moved out of the gift shop and into the gallery so to speak and began seeking advice from artists who were friends, other collectors and advisors. I have an instinctual sense about the works I buy &#8211; I usually know immediately what I want and I don’t question it &#8211; even though the why is not always clear. I recently acquired a small painting by Mia Middleton from Roberts Projects which I’m excited to hang on my salon wall. There is always something sinister afoot in Mia’s works and this one is no exception, in it her subject holds a red apple. The apple is the focus of the painting and for me symbolizes fertility and desire. However, how I program the gallery is more purposeful than my personal collection. It takes into account the artists that I have had the opportunity to work with over my years as a Director and new emerging voices that I am exposed to now. 
How was your first Nada experience and what other fairs will you be participating in this year?
I am a huge fan of NADA &#8211; I love that they represent an association of galleries that fosters the idea of community at its center bringing together gallerists, artists and collectors from around the globe. It was great to be presenting work under my own name at the fair for the first time, and for our inaugural presentation, I asked three generations of female artists to respond to the themes of “coming-of-age”. It felt very apropos for my first fair! This year we also plan to exhibit at Felix Art Fair in LA during Frieze Week, Expo Chicago, Aspen Art Fair and the inaugural edition of Untitled Houston. 
 
Many congrats! A lot going on for you in 2025! 
Yes, I am so excited for our January exhibitions which include solo exhibitions by Vienna-based Philip Mueller and Paris-based Flora Temnouche, and a group exhibition curated by Los Angeles based artist Mindy Shapero. Mindy and I have worked together for many years and I am in awe of her incredible studio practice all while raising her two children. Mindy’s exhibition will be the third artist curated project that the gallery has held and it feels extra special given that Mindy is organizing the exhibition around her MICA professor Ken Tisa. Ken has influenced hundreds of working artists and it feels lovely that Mindy is honoring his legacy through an exhibition that brings together those that he has inspired throughout his career. 
 
At newcube, we work with young collectors who look up to more seasoned collectors and we are always on the lookout for new artists. What advice would you give a collector who’s just starting? 
I’d say, see as much art in person as possible. My advice to any young collector is to choose a couple of different galleries who represent artists that are of interest. Follow their programs, learn from their directors and start to acquire works by the artists that they represent. By aligning yourself with a few galleries you can begin to foster a relationship with them and their artists, as well as get to know other collectors who support the gallery who can then expose you to new artists. 
We couldn’t agree more. There is something about building your own community within the collector, gallery and artist communities while supporting each other. Since you work closely with many artists, some emerging, others more mid-career or established, you know how challenging it can be for an artist to stand out and succeed. What would the top 3 advice you would give to up and coming artists today? 
That’s a great question. Most importantly, 1. be in the studio and create; 2. visit the galleries you are interested in showing at. Become part of their ecosystem! The more you are seen by them the more apt they are to think of you when programming for their next exhibitions. 3. find a gallerist who can be your partner throughout your career. I always admire artists who have life-long friendships and lasting relationships with their gallerists. Lastly, 4. I’ve heard a lot of artists discuss how social media can be distracting to their practice and in this vein I think it’s important as an artist to not be influenced by it, but rather to utilize social media as a marketing tool for their own work. 
Would you have any advice to share with someone looking to open their own art gallery? 
Ensure you have a strong community of artists, collectors, writers, curators, and other gallerists who support you and your vision. I am lucky enough to be friends with other peers of mine who are starting their own galleries at the same time, and it seems special that we are all supporting each other.
Opening my own gallery is like having a second child &#8211; I like to say it’s my biggest achievement since having my son. 
Well, I wish you and both your babies the very best for many many years to come. I’m very excited to see the gallery grow, and to come see you at Felix!

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View of exhibition "Michael Bauer: Propelled into the past and oozing from his glands", Megan Mulrooney, Fall 2024. 

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View of exhibition "Anke Weyer: Haricots Verts", Megan Mulrooney, Fall 2024. 

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Los Angeles is lucky to have such a strong art community. We spoke to Megan Mulrooney, a few months after the opening of her eponymous gallery on Sunset. Mulrooney shares with us about her love for LA and her passion for creating intergenerational dialogue. 

WOMEN IN THE ARTS: Megan Mulrooney,  a rising voice of the LA art scene

WOMEN IN THE ARTS: Megan Mulrooney, a rising voice of the LA art scene - newcube.

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