Yana Peel has always seen opportunity in improbable pairings. In London in the early aughts, she was working as a trader at Goldman Sachs when she joined the Serpentine Galleries’ fundraising council. It increasingly frustrated her that the artists she knew never seemed to spend time with patrons or collectors, except at openings. “I saw that there was a gap between the people with the resources and the people who were translating the most important questions and ideas of the day into visual art,” she told me.
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