A background in Neuroethics led Émilie to assemble a collection with a focus on perceptual minimalism. Fascinated by Phenomenology and Neuroaesthetics, she was drawn to wonder how the human body perceives an artwork in space. Her first acquisition, in 2012, was an Incomplete Open Cube (1974) by Sol LeWitt. Since then, building on the eclectic collection of her grand-mother Claire De Pauw, she has been trying to gather works calling attention to the viewer’s experience. And if most of the acquired pieces are from the 1960s, she is keen to discover living artists who are pushing these groundbreaking approaches further. Also, given the nature of certain artworks – kinetic pieces, light or sound installations – Émilie decided to host them in a house in Brussels, where she is from, and to welcome people who share these interests. In London, she is a member of the Whitechapel Gallery Commissionning Council.

Specializing in 20th-century art, Anne-Hélène Decaux led the Post-War and Contemporary Art Department at Sotheby’s Paris for over five years before joining the esteemed Gagosian Gallery in early 2021. An active curator, Anne-Hélène initiated her career at the Aga Khan Foundation and curated various exhibitions for Wild Touch, a notable French NGO recognized for its impactful efforts in promoting climate change awareness. Since 2015, she has been collaborating on Panoptès artistic projects. Also serving as President of Thanks for Nothing NGO since the beginning of 2021, Anne-Hélène continues to make significant contributions to the art world.