Following Clive Davis’s death in June 2026, Christie’s dispersal of his collection offers more than a celebrity-provenance story. It reveals how one of music’s great talent-spotters lived with post-war and contemporary art — and how friendship, intuition and domestic space shaped what he bought.

Teresa Margolles’s first large-scale US museum exhibition turns rubble, residue and forensic thinking into a radical form of memorial. For collectors, it is also a masterclass in why context and conservation can be part of the medium.

Wangari Mathenge’s first solo exhibition with Lévy Gorvy Dayan expands her Re-membering series into sculpture, turning books, objects and domestic space into a layered inquiry into Kenyan cultural memory.

Dimitris Daskalopoulos has added 51 works to one of the most consequential museum-gifting programmes of the contemporary era. The real story is not generosity alone, but a collector’s unusually coherent answer to the problem of legacy.

Peter Simon’s collection is large enough to read as a survey of modern and contemporary art, but its more useful story for collectors is personal: how a commercial eye trained on textiles, colour and pattern became an art-collecting instinct — and why conviction still matters when markets move against you.

Rana Begum treats light as a material. Her first New York solo exhibition offers collectors a precise lesson in how architecture, daylight, colour and movement can keep changing an artwork after it enters the home.