Some homes collect art. Others become part of the collection.
We visited the home of Lyndon and Janine Barrois, and had our minds blown 🤯
Literally every room (including the bathrooms), is layered with objects, textures, and works that reflect years of instinct, curiosity, and living with art intimately. Their collection is deeply rooted in supporting and preserving the legacy of Black artists, not as a trend or statement piece, but as something woven naturally into how they live and what they value.
Less about perfection, more about connection. A home shaped slowly over time, where every piece feels chosen with care and lived with fully.
“This is my dojo, my chapel.”
Kyle De Lotto welcomes us into his studio today, a space where he shows up, experiments, and follows whatever catches his attention. Accidents happen, ideas spark, and the work grows naturally from there.
Joy’s home is a living tribute to Black artistry and womanhood.
From stained glass by Varnett Honeywood to graphite sculptures by Dominique Moody, every piece honors culture, memory, and legacy.
Collector: @joysimmonsdivadoc
#futurefinecollectorhomes #WomenInArt #ArtAsLegacy #CulturalInheritance #BlackArtMatters #JoySimmons #HomeAsGallery #BlackArtists #ArtCollector #KerryJamesMarshall #DeborahRoberts #LaurenHalsey #KaraWalker #MickaleneThomas #Alisonsaar #dominiquemoody
Welcome to Lyndon and Janine’s living museum.
We spent the afternoon inside their home, layered with paintings, sculptures, textures, books, and stories, where even the ceilings hold artwork. Every corner reflects decades of curiosity, intention, and deep personal relationships with artists.
As self-described “civil rights babies,” they speak about collecting through a deeply personal lens, one shaped by representation, cultural legacy, and the importance of championing Black artists long before the market fully recognized their significance. Their collection feels less like a trophy case and more like a living archive of friendships, conversations, and lived experience.
That idea comes up again and again throughout the tour: the more personal the relationship, the more meaningful the work becomes.
This is the kind of home you could spend hours (maybe even days) inside and still continue discovering something new. A true immersive world of contemporary art, built slowly and thoughtfully over a lifetime.
“it is more about coming with a new solution to adapt to it”
Farshid Bazmandegan reflects on displacement, access, and the process of adapting through both life and material. Turning industrial oil drums into paintings that carry both violence and restraint.
“Behind the door of pain there’s a lot of secrets.”
Miles Greenberg’s work isn’t centered on pain, but what exists around it. What’s held, translated, and carried through the body.
On our honeymoon in Japan and somehow convinced my wife to come nerd out with me on this.
I’ve been following Devon Turnbull ( @devonojas ) for a while, but experiencing his work like this is different. “Between Space & Sound,” his collaboration with Karimoku, isn’t really about speakers. It’s about how space shapes what you hear. Less about volume, more about presence. Sign me up.
“you can get amazing works of art that fit into museums for $10,000”
Carl Larsson talks about collecting and how value shifts depending on timing, knowledge, and where attention is in the market. What feels overlooked now can become important later.
“Some events are really hard to revisit, and some it’s important to transform into a piece of fabric, or sculpture, anything.”
Ali Eyal’s work sits somewhere between memory and fiction, where personal history becomes something fluid, unstable, and hard to hold onto.
Born in Baghdad and now based in Los Angeles, his practice pulls from family archives, disappearance, and the fragments left behind by conflict. Drawings, documents, and narratives blur together into something that feels both deeply personal and universally disorienting.
Recently named the recipient of the $100,000 Mohn Award from the Hammer Museum, and included in the Whitney Biennial, Eyal is quickly becoming one of the most important voices working today.
This conversation looks at how that sense of instability, of being in-between places, shapes everything he makes.
“My work has always been very much focused on men being objectified.”
We spent time in Vivien’s studio, where each piece is built to be read slowly…imagery that asks to be pieced together rather than taken at face value. The work opens a space for projection, where viewers bring their own experiences into what they’re seeing.
Over time, that’s become part of the practice itself creating room for people to speak openly, whether it’s about personal histories, relationships, or the things they don’t usually say out loud.
Wow, big time art goals! Walking into Cliff and Mandy Einstein’s place in Beverly Hills feels less like a house and more like a fully realized curatorial vision, decades in the making.

As with most collections, it all started with a single painting, now it’s 200+ works deep, with everything from Ed Ruscha and John Baldessari to Kerry James Marshall, Rashid Johnson, and Albert Oehlen casually living on the walls.

Highlight for me was sitting inside James Turrell’s Second Meeting in the garden, which is one of those works that quietly resets your brain. Also wild to have a massive Nancy Rubins airplane sculpture basically hovering outside like it’s no big deal.

The whole place is proof that great collecting isn’t about flexing, it’s about building a world you actually want to live in.
