APAA Client Spotlight: In Conversation with a West Coast and Europe-based Collector

May 20

For over seven years, APAA advisor Holly Baxter has worked with a remarkable West Coast and Europe-based collector whose growing collection centers on postwar and contemporary women artists. From transforming a once casual art hobby into a deeply intentional practice to commissioning site-specific works by top-tier artists, this collector’s journey is a testament to what’s possible with expert guidance.

Why did you start working with an art advisor?

I reached a point where I wanted to take my collecting from a casual hobby to something more intentional and curated. I had been collecting independently for about ten years—just a few dozen pieces—but when I became serious, I quickly realized that navigating the global art landscape was far more complex than the occasional local gallery visit. It became overwhelming fast.

Have you worked with an art advisor to help re-think your art collection?

Completely. Holly pointed out that many of the works I had collected were by women. That hadn’t been intentional at first—I just gravitated toward work that brought a fresh, original perspective. Over time, I realized that a significant portion of the collection was by women, and now it’s something I embrace consciously.

Sheila Hicks, *Himalayas Horizon*, 2022.

What is your experience working with an art advisor, and why has it been beneficial?

Working with Holly has transformed every aspect of how I collect—what I acquire, how I think about art, and the confidence I have in accessing top-tier work.

The difference has been moving from hobby-level collecting—buying from galleries and art fairs—to accessing private sales, important collections, and even the artists themselves. Holly has opened doors I wouldn’t have known existed.

She has also turned me into an intrepid art traveler. Beyond the fairs, galleries and biennials, she's has guided me through inspiring art travel and to view many of the works I have acquired such as the Frankenthaler Lexington painting in residence on a private island accessible only by boat, an Etel Adnan in private villa in Tuscany, visits to artist studios for meaningful conversations about their practice and work.

Holly’s also inspired me to commission site-specific works—something I never would have pursued on my own. The most recent is an outdoor sculpture for my property. Holly brought in proposals from several world-class artists. The caliber of the responses she received was remarkable and entirely due to her deep relationships and her reputation. That was a turning point for me.

Tell us about your collection and its focus. Has the focus changed over time?

I still occasionally pick up a piece that doesn’t fit the core theme but speaks to me. But the heart of the collection is postwar and contemporary female artists, with styles ranging from abstraction to illustration.

Highlights include works by Helen Frankenthaler, Etel Adnan, Jay DeFeo, Louise Nevelson, Sheila Hicks, Joan Semmel, and Shahzia Sikander, as well as sculpture and paintings by Yayoi Kusama, Simone Leigh, Rosa Barba, and Gisela Colón.

Gisela Colon, *Mount Tamalpais Light Plane and Portals,* 2023. Site specific commission.

Do you have a favorite artwork in your collection?

One of my favorites is by Etel Adnan. She once lived near my current home in Marin County and often painted Mount Tamalpais—the mountain I see at the end of my street. Now, I walk home and see the mountain through my eyes, then step inside and see it through hers. That connection brings me joy.

Is there a specific acquisition or commission that you want to highlight.

My home is an older Victorian with a dark, narrow, gray stairwell that I disliked for years. Holly introduced the idea of a site-specific intervention and brought in Gisela Colón, who designed a kinetic light-based installation that completely transformed the space. It’s now my favorite part of the house.

What’s special is that Gisela created something entirely unique for this project—she’d long wanted to experiment with architectural integration but rarely had the opportunity. This commission gave her full artistic freedom, and the result is stunning.

Is there an interesting collecting story you'd like to share?

At Art Basel in 2018, I came across a captivating illustration by the then relatively unknown Shahzia Sikander. I hesitated and passed—something I regretted for years. But Holly never forgets. Years later, when Sikander’s work was in high demand, Holly helped me acquire several of her most exceptional pieces.

As penance, I also supported Shahzia’s 2024 Venice Biennale exhibition, which Holly helped navigate. It was a meaningful experience to be involved and see her work at the Venice Biennale, the Cincinnati Art Museum, and the Cleveland Museum of Art.

Have you exhibited your collection or lent to exhibitions? Any upcoming plans for doing so?

Yes—I’m happy to lend from my collection. Recently, I loaned several Etel Adnan works to a museum in California, in full view of her beloved Mount Tamalpais. I’ve also loaned a luminous red Helen Frankenthaler painting to an upcoming exhibition in Rome. Another of Helen Frankenthaler’s paintings, ViewPoint 1, will be loaned to the Kunstmuseum Basel for an important exhibition next year. From April 18 to August 23, 2026, the Kunstmuseum Basel will present the largest exhibition in Europe to date of artist Helen Frankenthaler.