New York City never sleeps, its lights and movement blur day and night, a reminder of being alive. Yet as I walked through the Upper East Side, autumn softened the scene: crisp air, golden leaves, and a rare calm tucked inside the city’s perpetual rush.
The dialogue between art and architecture
The Breuer Building – Hungarian-born, Bauhaus-trained architect Marcel Breuer’s architectural masterpiece and the formal home of the Whitney Museum of American Art on Madison Avenue – shines with striking clarity as it begins its new chapter as Sotheby’s global headquarters.


I glimpsed the building’s design: a cantilevered concrete and granite façade rising like an upside-down pyramid, distinctive trapezoidal windows, and a lobby illuminated by countless circular discs, each holding a single silver-tipped bulb, casting a refined and singular glow. I noticed the Breuer lobby gallery, which showcases works from the Collection of Dorothy and Roy Lichtenstein. On one wall hung British Artist Damien Hirst’s Momentary Love Blossom painting, set in contrast to a rainbow-hued concentric square work by Frank Stella that commanded attention, while a Jean Arp sculpture stood nearby, completing the dynamic interplay of form and color.


Three extraordinary single-owner collections: Leonard A. Lauder, Cindy and Jay Pritzker, and Exquisite Corpus, stand at the center of the November auction season. The exhibitions span both the day and evening sales.
A day earlier, I visited Neue Galerie to explore Austrian and German art, including works by Gustav Klimt, Egon Schiele, Ernst Ludwig Kirchner, and Oskar Kokoschka. Klimt is renowned for his highly decorative and symbolic style, combining sensual figuration with intricate patterns, gold leaf and ornamental motifs. His work juxtaposes naturalistic faces and bodies with abstract, mosaic-like fields of color and texture. The pinnacle of this “Golden Style” is Portrait of Adele Bloch-Bauer I (1907), famously known as the Woman in Gold. In this dazzling composition, Adele’s flushed cheeks, vivid red lips, and unusually clasped hands emerge from a radiant aureole of gold and elaborate ornamentation, conveying both sensuality and vulnerability. The portrait captures an enigmatic presence that has made it one of Klimt’s most celebrated masterpieces.

(Photo from the Neue Galerie New York)
Also, Ernest Ludwig Kirchner’s bold and expressive use of color stirred my emotions, reflecting his Expressionist concern with awakening the psyche. These works offer a glimpse into the artists’ inner worlds through a powerful visual language, deepening my appreciation of Austrian and German art.

At Sotheby’s, Gustav Klimt’s masterpiece Bildnis Elisabeth Lederer (1914) takes center stage. This striking portrait capturing Elisabeth Lederer’s beauty and social prominence through lavish ornamentation, a rich palette and masterful brushwork. The work vividly incorporates elements of Asian art, visible in its intricate decorative motifs, stylized patterns, and meticulous attention to detail, reflecting Klimt’s fascination with Eastern aesthetics. It was sold for a record-breaking $236.4 million on November 18, making it the second most expensive artwork ever sold at auction and the most expensive work of modern art ever to appear at auction.

I was drawn to another of Klimt’s works, Waldabhang bei Unterach am Attersee (1916), where his inner world emerges vividly, extending beyond mere physical appearance. The treatment of the painting surface shows his familiarity with Impressionist and Pointillist techniques, yet his approach is more refined, creating a work suffused with a distinctive mood. The painting’s overall green tone is punctuated by vibrant bursts of color from the landscape, and nature clearly sustained him.


I repeatedly returned to appreciate Cecily Brown’s High Society (1997-98), captivated by its swirling depths and bold exploration of the human figure. Blurring abstraction and figuration, the work shows how paint can convey the interplay of perception, emotion and desire. In this dazzling composition, I was captivated by the body work, struck by its brightness and chaos. I sensed the romance and sensuality lurking beneath the surface, while the shifting light enhanced skin, flesh and form, mesmerizing that my eyes could not look away.

The Argentine-Italian artist Lucio Fontana frequently cut or punctured his monochrome Concetto Speziale canvases,leaving distinctive slashes and holes that imbued the works with an almost violent energy, creating a dynamic dialogue between void and form. Its iconic shimmering gold and matte black palette invites viewers to contemplate the space beyond the canvas, resonating with both the finite and the infinite.

I can’t take off my eyes off Wayne Thiebaud’s Four Sundaes, a still-life painting of humble everyday objects rendered in the artist’s singular illustrative style, his vibrant color, the piercing clarity of his light and the confidence of his brushstrokes, by way of his profound engagement with the history of art.

The mystery is unseen, yet indispensable
I believe Surrealist artworks will be a significant direction for the future art market. I’ve been fascinated by Surrealist paintings, such as Leonora Carrington (1917-2011), Remedios Varo (1909-1963), Frida Kahlo (1907-1954) and Rene Magritte (1898-1967). The surrealist paintings always invite me to step into the artist’s imaginative world: Is he or she escaping from reality into a surreal dimension? What is the artistic symbolism behind each object? Is it transformative?

Leonora Carrington’s Sin Titulo caught my eye immediately. It presents two intertwined, headless figures set against a glowing ochre background, merging in a ritualized embrace with their bodies rendered as contrasting yet equal forces. Their black and white bodies, feminine and masculine, transcend individual identity, embodying the mystical union of opposites, while their heads release luminous streams of energy, symbolizing rebirth and transformation.

The painting feels familiar, as if it has stirred a memory, yet I am confronted with its absences. Gertrude Abercrombie’s Message for Mercy rewards lingering attention. At the center, a black cat rests on a soft pink mat; a yellow broom leans against the corner, and a small landscaping painting hands on the wall. Muted gray walls and a closed door define the interior space. The letter, delicately placed along the threshold of the door, evokes an allusion to the outside world, while the broom and other interior elements, like the artist’s inner world, suggest feelings of insecurity and entrapment.

Mexican art giant Frida Kahlo’s El sueño (La cama) explores the interplay of life and death, mortality and resilience, a feeling that struck me immediately upon first seeing the painting. In this intimate self-portrait, Kahlo depicts herself asleep in a bed, wrapped in a golden blanket embroidered with crawling vines, while a skeleton entwined with strings of dynamite hovers ominously above her, almost mirroring the artist herself. The subtle palette contrasts and deliberate inclusion of personal objects highlight her remarkable ability to fuse the material world with inner experience.

I was particularly struck by the skeleton, which suggests that Kahlo’s confrontation with death is not rooted in fear, but in familiarity, drawing on Dia de los Muertos traditions, surrealist imagery and her own sense of identity. It was sold on November 20 for $54.7 million, setting a new auction record for a female artist.
This journey rasied questions about power, wealth, art history and the artworks themselves, intertwine and shape one another.
The train is moving toward, just like my journey
When I woke from a light doze on the train, we were already heading toward East Hampton. Autumn colors dotted the gray, rainy day. The town was quiet, lined with historic buildings that lent it a distinctly New England charm – my first impression of East Hampton.

I posed the question, “If you had to describe East Hampton in one word, what would it be?” to the editor at The East Hampton Star, the local newspaper. He replied that the town is hectic in the summer but calmer in the winter, revealing different sides depending on the season. Our conversation hinted at the many layers of East Hampton, encouraging me to explore it more deeply.
In East Hampton, I could immediately sense the wealth that defines the area. I walked along the streets, from the 1770 House to Main Beach, soaking in the autumn vibes – golden leaves drifting to the ground, countless cottage-style houses standing quietly as symbols of affluence, like an autumn painting come to life. The deer watched silently as I glimpsed sculptures in the garden yards, I spoke with the locals, many of them strangers, striking up interesting conversation with curiosity and boldness, eager to learn more about the town. The weather shifted quickly between snow and rain, a reminder of Long Island’s Eastern End and its unpredictable climate.

Like a local, I caught a brief glimpse of life in this area, feeling and experiencing Hampton living in my own small way. I was heading back to Grand Central in New York City, back to reality and chaos, a sharp contrast to the calm I had felt in East Hampton.
Once again, the questions about the relationship between art, wealth and power stirred in my mind.
These forces are deeply intertwined, each shaping and amplifying the other: wealth enables the acquisition of art, art signifies influence, and power shapes what is celebrated. Yet personal passion remains essential, collecting is not just about acquiring objects, but cultivating something vibrant and meaningful that reflects one’s personality and lifestyle.
The art market is vast, tangible, and filled with beautiful works, yet it is undeniably complex. My advice to future collectors is simple: buy only the piece you truly love, revisit them often, let your collection reflect your unique personality and lifestyle, and cultivate a guiding version that brings coherence to your acquisitions. With thoughtful guidance and respect for art history, you can navigate this world with confidence.
Thank you for this bold adventure.





































































































































































































