Mariane Ibrahim

It's very essential because the relationship with the galleries and the artists is a non-conventional relationship.

You know, there's an interdependence relationship.

This can be also an emotional relationship.

So all of that has to be preserved because, you know, we're not selling objects.

We're selling ideas.

We're selling vision.

We're selling

feelings as well so so it's a very sensitive relationship that needs to be you know sort of a preserved and it needs to also be fortified against all odds you know it's like us against the world in a way that's how I kind of think my relationship with the artist is we are in this part of companionship and solidarity or sorority but we have to be a block

Because that block is also going to determine the mutual success of our endeavors, you know?

I will steal the Beaufort Delaunay that is at the Studio Museum of Harlem.

The title is Portrait of a Young Musician, 1970.

That would be my heist.

Absolutely.

That would be my heist.

And in fact, any work from Romario Riordan at the Met, I will also take.

I'm interested in the older artists.

I'm very much interested in the older artists because first Beaufort lived in France for 25 years.

And they are my antiquities, sort of, you know, these older artists discovered more, you know, older artists.

And Henry Osawa Tanner was the only Black impressionist at the Musée d'Orsay.

So if I was going to constitute a collection, there would be African descent artists from the 1920th century.