Untitled Art Edit's Collectors Series part four . See details below.

As part of our Edit’s Collection Building series, we explore the personal philosophies, relationships, and experiences that shape how collections take form. In this edition, we speak with Beau Necco, a Miami-based collector and entrepreneur whose approach to collecting is grounded in curiosity, meaningful dialogue, and the connections forged through art with his partner, Heather Martin. From studio visits and travel to longstanding relationships with artists and galleries, Necco reflects on building a collection through trust, discovery, and the enduring experience of living with work that moves him.

Edit

Untitled Art (UA): What does it mean to you to be a collector? Beau Necco (BN): To me, collecting is about the connection. The works I live with remind me as much of conversations, friendships, and experiences as they do of aesthetics. Some of the most meaningful moments have been talking with artists, hearing how they think, and understanding what drives them.

"Seeing work in different contexts and countries — museums, artist studios, regional exhibitions — changes the way you understand it.  Over time, you start noticing threads between artists and movements that help your collection develop naturally.” - BN

Laura Footes, I'll Stay In the Shade, 2025. Image courtesy of Carl Freedman Gallery.  UA: What do you enjoy most about Miami Art Week? BN: The people. It’s always about the people. During Miami Art Week, the entire city transforms into this enormous conversation about culture, design, architecture, music, and art. But for me personally, the best part is always the human side of it — reconnecting with artists, meeting new people, and having those unexpected conversations that only seem to happen during that week. There’s an openness and creative energy that feels really special.

Lola Stong-Brett, When I Didn't Think I'd Feel Again, 2025. Image courtesy of Carl Freedman Gallery.  UA: Do you have a specific philosophy you adhere to with your collecting and any advice you'd give to emerging collectors for how to meaningfully develop their own collections? BN: My advice to emerging collectors is to spend time with artists and galleries before worrying about market conversations. Go to studios, ask questions, read, travel, and trust your eye. You don’t need to buy the biggest name in the room for a collection to have meaning. Often the most rewarding relationships come from supporting artists early and growing alongside them.

“Art has always inspired me — visually, emotionally, and intellectually. Over time, what began as admiration evolved into collecting, but the feeling is still the same.” - BN

UA: What, in your opinion, should the role of art fairs be in this moment? BN: I think art fairs should create access and dialogue. The best fairs aren’t just marketplaces — they’re cultural meeting points. They introduce people to artists they may never have encountered otherwise and create opportunities for real exchange.

UA: Is there an artist or artists that you discovered or acquired at Untitled Art, and do you have any highlights from the fairs in Miami Beach or Houston? BN: Some of my favorite moments last December came while working with Robert Diament from Carl Freedman Gallery at Untitled Art, Miami Beach. I was especially drawn to the work surrounding the Margate artists — Lola Stong-Brett, Laura Footes, and Lindsey Mendick. Their work is now in my home here in Miami. Honestly, the highlight is rarely about the acquisition itself. It’s about meeting the artists, hearing the stories behind the work, and understanding the environments they come from. I was fortunate to meet Lola and Laura, among many others, and the great Tracey Emin when I visited Margate earlier this year. Those conversations stay with me as much as the pieces do.

To explore the collection of past essays from the Untitled Edit, please visit our website.

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Untitled Art features art from all over the world in various locations. See below for art installation dates and events near you!!!

Bea Bonafini, Summer’s Teeth, 2026. Image courtesy of Vangar.  From Buenos Aires and Helsinki to New York, Palma, and Houston, our May edition of Untitled Circle follows the artists and exhibitors in the fair’s growing network through a selection of exhibitions not to be missed this month. The presentations reflect the breadth of our community, offering a survey of the exhibitions, ideas, and artistic voices shaping the season. Anna Fasshauer: Sculpturology Galerie Forsblom, Helsinki Opened Thursday, May 7 For its second solo exhibition of the work of artist Anna Fasshauer, Galerie Forsblom presents aluminum sculptures manipulated through bending, hammering, and rolling. Foregrounding embodiment, the intensely physical nature of her process is central to her practice: through sheer strength, her body reshapes the material, producing bumps and dents that transfigure its form. The sculptures come together to convey a vivid sense of movement, inviting viewers to circle around them, transforming an industrial material into something human. Brad Phillips, Untitled, 2025. Image courtesy of Alyssa Davis Gallery. N24B Alyssa Davis Gallery, New York Opening Thursday, May 14 Featuring works by 15 New York City-based artists, the group presentation spans across the Renzo Piano-designed unit, curated by Alyssa Davis Gallery. Located on Manhattan’s west side, the presentation exists as a speculative biography of an unknown inhabitant. Marking Davis’s first collaboration with a high-end residential development, the exhibition brings contemporary works into a staged interior, a setting typically defined by neutrality and display. The works acquire the provenance of a gallery exhibition while existing in an alien context – not quite incognito art in the public, it is art constructing an imagined private life. Reeha Lim, The Witness, 2026. Image courtesy of Chilli. Skrud Chilli, London Through Thursday, May 14 Chilli presents Skrud, featuring Dustin Emory, Naresh Kumar, Elise LaFontaine, and Reeha Lim, each exploring the intersection of material and personal history, as well as fictional and dreamt realities. The exhibition takes its name from the root of the word shroud, originally meaning to cut or shred, a duality which is reflected in the works. Surfaces are cut, layered, and veiled in a constant rhythm of revealing and concealing. Reflecting both personal and political histories, these richly layered works disrupt the idea of linear narrative with a slipperiness that rewards prolonged viewing.  Bea Bonafini: Intangible Vangar, Valencia Opening Friday, May 22 For her first solo presentation in Spain, Vangar presents works by Bonafini, working across painting, textile, sculpture, and collage. Through these layered surfaces and tactile assemblages, matter itself appears animated—constantly reorganizing, combining, and evolving. Her figures emerge from an ancient movement of particles and atoms, recalling the shared material origins of all life. Inspired in part by the writings of Emanuele Coccia, Bonafini’s exhibition imagines existence as relational, porous, and shared. Carla Arocha and Stéphane Schraenen, Ghost fuzz big white. Image courtesy of Galería Fermay.  Carla Arocha and Stéphane Schraenen: Spinng Rumours Ópalo Galería Fermay, Palma Through Friday, May 22 Referencing a common expression used to point out the act of spreading misinformation with the intention of shaping public opinion, the artist duo mounts an exhibition at the Palma-based Galería Fermay. The artists take as a starting point the opal stone, a quartz-like mineral characterized by its internal refractive light, and place the viewer’s experience at the core of their artistic concerns, thus bringing in notions such as fragility, memory, or absence. By disrupting spaces, suspending meaning, and provoking a degree of confusion, the works ask the beholder to question the reality surrounding them. Carlos Cima: Sombra permanente CONSTITUCIÓN, Buenos Aires Through Saturday, May 23 CONSTITUCIÓN’s solo exhibition of Carlos Cima spans a selection of paintings and drawings. The latter is the first time the artist has explored the medium. The work avoids visual spectacle, focusing instead on its own constructive process, creating an atmosphere of almost ecstatic estrangement. With no direct human presence, figuration is only subtly suggested through symbolically charged objects, while the revisiting of the past is displaced to the margins, revealing an experience of disjunction and distance from one’s own existence.   Jannick Deslauriers and Camille Charbonneau: Épaves Stems, Brussels Through Saturday, May 30 After years of collaboration, artists Jannick Deslauriers and Camille Charbonneau present their first collective exhibition, Épaves at Stems. Their practices intertwine in an immersive experience where familiar forms emerge yet resist definition. Fragments hover throughout the gallery, and the ruins of institutions and power structures remain recognizable, though displaced and adrift. United by a fascination with the strange and the uncanny, the works create a sense of community in a divisive era, holding together what endures. Terran Last Gun, Ancient Futurism Is Now, 2026. Image Courtesy of Diane Rosenstein.  Terran Last Gun Diane Rosenstein, Los Angeles Opening Saturday, May 30 For its first exhibition in its new Hollywood location, Diane Rosenstein presents its second solo exhibition of new antique ledger drawings by Terran Last Gun. Continuing Last Gun’s exploration of color, geometry, and Indigenous abstraction through a visual language rooted in land, cosmos, cultural narratives, and recollection, the works are assembled into triptychs and quadriptychs. Drawings feature vibrant circular forms and recurring motifs of lunar phases, creating rhythmic compositions that bridge historical forms of ledger art with contemporary abstraction. The Surreal Body Seven Sisters, Houston Opening Saturday, May 30 In The Surreal Body, Seven Sisters brings together Dorothy Hood, Julia Kunin, Joel Parsons, and Katarzyna Przezwańska in a presentation that positions the body as a site of transformation, sensation, and psychic charge. Across drawing, ceramics, painting, and sculpture, the exhibition considers the body not as a fixed form, but as an unstable and imaginative force shaped by memory, desire, performance, nature, and the subconscious. Through fragmented forms and references to surrealist and prehistoric visual languages, the works trace the body’s capacity to exceed itself, becoming mystical, erotic, symbolic, and atmospheric. Danielle Frazier, 2026. Image Courtesy of SEPTEMBER. Danielle Frazier: Night Writing SEPTEMBER, Kinderhook Through Saturday, May 30 Debuting three new bodies of photographic work, SEPTEMBER exhibits Frazier’s solo. Working in total darkness to record everyday phenomena, Frazier bypasses the lens to create vibrant, camera-less photograms. Guided by tactile intuition and her Color-Grapheme Synesthesia, she reactivates expired chemicals and discontinued papers to bridge the gap between scientific specimen and sensory provocation. This collection is a reclamation of degraded materials, transforming a practice into a vivid public record of fragile life and a subversion of photographic tradition.  #untitledartgallery#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunfoever#artfunforall#fineartfun

Emilie Louise Gossiaux, presented by Mother Gallery (Beacon, NY) at Untitled Art, Miami Beach 2022, has been awarded the inaugural Pébéo Production Prize.

Emilie Louise Gossiaux and her Guide Dog, London. Courtesy of the artist and Mother Gallery. Emilie Louise Gossiaux, presented by Mother Gallery (Beacon, NY) at Untitled Art, Miami Beach 2022, has been awarded the inaugural Pébéo Production Prize.  The Pébéo Production Prize is a hybrid cash and in-kind materials award to an artist working towards an exhibition at an institution or non-profit organization in 2023/24. This year's prize will support multidisciplinary artist Emilie Louise Gossiauxtowards her first major solo exhibition at a large American institution, The Queens Museum, in the Fall of this year. Emilie Louise Gossiaux (b. 1989 New Orleans, LA and based in NYC) received a BFA from The Cooper Union School of Art in 2014, and an MFA in Sculpture from Yale School of Art in 2019. Since losing her vision due to a traffic accident in 2010, Gossiaux’s altered experiences have influenced her practice's trajectory — drawing on inspiration from dreams, memories, and non-visual sensory perceptions. Gossiaux connects to landscape and body without sight. As such, her drawings and ceramics pertain deeply to bodily autonomy, exploring themes such as love, intimacy, and the interdependent relationships between humans and non-human species. Much of her work is inspired by the interspecies bond she has with her Guide Dog, London, and celebrates disability pride. Simultaneously, she disrupts the Anthropocene understanding of agency and the hierarchic ordering between humans and animals. Gossiaux's recent solo shows include Significant Otherness at Mother Gallery (New York, NY); Memory of a Body at Mother Gallery (Beacon, NY); and After Image at False Flag Gallery (New York, NY). Her participation in group shows, both domestic and internationally, include the Wellcome Collection (London, UK, 2022); 1969 Gallery (New York, NY 2022); The Aldrich Museum (Ridgefield, CT, 2022); Gallery 400 (Chicago, IL 2022); MoMA PS 1 (New York, NY 2021); Museum für Moderne Kunst Frankfurt (Frankfurt, Germany, 2021); The Krannert Art Museum (Champagne, IL, 2021); The Shed (New York, NY, 2021); SculptureCenter (New York, NY, 2020); and The Cooper Hewitt Smithsonian Design Museum (New York, NY, 2018). This Exhibitor Prize is furnished by Pébéo — A benchmark in the field of graphic art, the Pébéo family business has specialized in creating colors for many years. Striking the balance between innovation and an educational approach, the company promotes development and creativity through the practice of art. Emilie Louise Gossiaux, Peanut Butter Licking (2022). Courtesy of the artist and Mother Gallery. Congratulations to all the winners of our 2022 Exhibitor Prizes, and thanks to our Premier Prize Partners— 21c Museum Hotels, CCA Andratx, Colección Solo, Pébéo, Vortic, and The Last Resort Artist Residency. For more information please visit our website.  #untitledart#mothergallerybeacon#fineartmagazine#fineartfun