Adam Sender was not only a hedge fund manager, but he also collected art in his spare time. He leaned toward a surreal life, evidence of which could be seen in the art work he displayed in his office. Examples of his surrealism are seen in artist, Dan Flaven who created sculptures from commercial light fixtures and did weird figure painting; John Currin, who was a pop artist; Kara Walker who dealt with race, gender violence, identity and sexuality, plus Thomas Ruff’s suggestive, blurry photo of a scantily clad woman. Copies of Greenspan’s “Age of Turbulence” and Ayn Rand’s “Atlas Shrugs” seen on his coffee table were also signs of his surrealism.

When Adam Sender had his own hedge fund and continued as an art collector, he was in the spot light in the Art Basil Miami Beach when he mounted an exhibit of works from his private collection that was staged in one of his Miami homes. On display were works by Richard Prince, Cindy Sherman, Chris Ofili, and Rashid Johnson. There were only 70 works out of 1,000 pieces valued at $100,000 on exhibit and Sender said he regretted that so much of his collection was hidden away.

The discerning eye that Sender used in buying for his own hedge fund carried over into his selection of art. He bought reasonably priced art which increased many times over. For instance, a Richard Price could at one time be bought for $100,000, but became unaffordable.

Even though Sender had financial problems from time to time, he continued to buy works only from new artists who were well established. Two of the later works he bought were by Frank Benson, who did sculptures and photography and Diana Al-Hadid who created sculpture, installation, and drawing using various media. Sender could probably find a permanent private collector museum, but said he was in no hurry and continued to be happy doing exhibitions now and then.

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