A nearly ten-foot John McCracken column in the living room, Scott Burton chairs in the kitchen and Sturtevant beside the bed: Patrick Collins’s homes show what happens when a collector lets difficult art remain difficult.

The Armory Show’s 2026 programme places Caribbean art, museum acquisitions, performance and emerging galleries at the centre of the fair. The result is a revealing attempt to make the art fair function as more than a marketplace.

Christie’s and Sotheby’s are reportedly competing for roughly 300 works left in Herbert Lust’s estate. The $60 million figure is the news hook; the deeper story is a collector who built through friendship, scholarship and decades of changing his mind.

On Shelter Island, John Chamberlain’s actual working studio survives alongside a posthumously converted horse farm that now functions as a private exhibition space. As his 2027 centenary approaches, the Estate is testing how an artist’s environment can remain intact without becoming a conventional museum.

Around 190 works have entered the National Gallery of Art since March. The sharper collector question is not what the museum bought, but which gaps it decided could no longer remain.

Peggy Cooper Cafritz lost more than 300 works in a devastating 2009 fire. The collection she built afterwards reveals why her legacy was never simply about ownership.