OE: Some works are presented in larger spaces than they would normally be. I was afraid they wouldn’t be able to hold their own, but they actually do very well. A couple of small works surrounded by a lot of white walls—maybe it shouldn’t be such a surprise—look remarkably good. What I think is interesting is that a show like this exposes a whole other side of the phenomenon of collecting. It should be no surprise that the more conspicuous nature of collecting art—by which I mean less speculative in terms of profitability, in terms of investment—has recently become the more predominant view of what collecting is. The truth is that there are actually collectors around like Christian and Karen who are taking great risks, buying really difficult work, and doing things on their own initiative. Of course, we would hope that shows like this can inspire younger collectors, young people in the private sector, to be more willing to take risks, to be less conspicuous, and to essentially have more trust in art and culture in general. We’re seeing a lot of young collectors who are coming to terms with what risk really means. A show like this could be an indicator of how taking on risk when purchasing works can be its own huge success.