b'Introduction Lars Nittve, Chair of the investment committeeThis is crazy : the total international art-auction sales between 2008 and 2022 came to $186.9 billion. Of that, works by women artistsor rather artist-women, as Griselda Pollock suggests 1 came to $6.2 billion, or a miniscule 3.3 percent. And only 1.9 percent of the total auction sales was related to Black American artists and 0.1 percent to Black American women artists. And again, as if this were not enough : works by female-identifying artists made up just 11 percent of the acquisitions and 14.9 percent of the solo exhibitions in major American museums during the same periodand the figures for Black American artists were 2.2 percent and 6.3 percent re-spectively. 2Definitely contrary to what I think is the popular perception : that the tide has really turned for artist-women and artists of color, and that they are now, at least almost, fully appreciated and valued.At the same time, there are signs of change : the amount of money spent at auction for works by women, even after adjusting for inflation, has grown 174.2 percent between 2008 and 2021, and in just the last eighteen months of the period covered by the report that I quote, the market for works by wom-en has almost doubled. The scenario reminds me of what we used to say in the curatorial team at the Moderna Museet in Stockholm between 2006 and 2009, when we were working on The Second Museum of Our Wishes, a campaign to rebalance the collection from a gender perspective 3 If you : imagine a female and a male artist standing in the same room in the same year and making the same artistic breakthroughs, the difference in the price of the work on the market would be 1 :20. Now, some fifteen years later, I would say that this difference has gone down to 1 :10. That is a definite shift, but there is still a long, long way to go to achieve any form of equality.Sorry for all these numbers and statistics, but I reiterate them not only because they are astonishing in themselves, but also because they form an important basis for the investment strategy of Arte Collectum. On the one hand we give the market for artist-women and artists of color a push with our investments ; at the same time, we benefit from the upward movement in the market, which is ongoing and will inevitably continue for many years. Surely this recalibration of what is considered important and valuable in art and in other areas of culture is not something that will stop. Rest assured. Arte Collectum I, the first Arte Collectum collection, spans the last seventy yearswhat is sometimes called modern, contemporary, and ultra-contemporary art. The oldest artist represented in the collection was born in 1908 and the youngest in 1996. There are artists from North and South America, Asia, and Africa as well as from Europe ; 75 percent are women and 25 percent are men, while 63 percent are Black, Indigenous, or other People of Color (BIPOC) and 37 percent are not. I suppose I dont have to point out that those who are not BIPOC are women, and the men are artists of color. Half of the artists are living and the other half are no longer with us.But these are just statistics and figureseach artist and each work carries extra ordinary stories and insights. And there have been amazing discoveries along the waythe extraordinary American abstract painter Lynne Drexler, for example, totally forgotten until just a year or two ago but now seeing a 11 meteoric rise. Or, one of my personal favorites, Michael (Corinne) West, also'