“The work that I’m drawn to collecting seems to correlate to my own work as an artist,” Francie Bishop Good said of the collection in the Upper West Side apartment where she and her husband, David Horvitz, live when they aren’t at their home base in Fort Lauderdale, Fla. “It’s very intuitive.”

For the foyer of their classic prewar apartment, she said, “I wanted a powerful statement piece instead of a table that people put flowers on.” And she found one, an Alison Saar sculpture of a nude woman, coated in black coal and rising more than eight feet tall atop a giant ball of yarn. They had to rig the sculpture to the top of the elevator cab to get it into the apartment, she said during a tour of the couple’s collection last month before social distancing was instituted.

Ms. Good has traded with other artists since her years at the Philadelphia College of Art. She and her husband, who have two children each from their first marriages, began collecting art together in the early 1990s. Ms. Good was largely attracted to work by women and artists of color long before that kind of focus became popular. Mr. Horvitz, a real estate developer, followed her lead.