b'written out of the history books but now firmly on her way back. She was not the only young female artist in the macho Abstract Expressionist generation who was encouraged to take a male artist name, but she stuck to it until her death, in 1991. I also have to mention Wook-kyung Choi, well-known in her native Korea and now also, thanks to Arte Collectums curatorial program, the star in the important exhibition Action, Gesture, Paint : Women Artists and Global Abstraction 194070, at Whitechapel Gallery, London, in the spring of 2023. Wherever you went or whatever you read in London that February, you saw images of her bold paintings, which fuse Korean ink painting, Abstract Expressionism, and early Pop. Unknown in the West, but so memorable.If advancingand benefiting fromthe recalibration of the cultural hier-archies is one significant part of Arte Collectums unique DNA, another is its close curatorial relationship with the museum world. During our first year, we saw works not only by Wook-kyung Choi, Magdalena Abakanowicz, and Carmen Herrera in beautiful exhibitions, but also the funds paintings by Jaune Quick-to-See Smith in her celebrated retrospective at New Yorks Whit-ney Museum of American Art (and later in Fort Worth and Seattle) and wall structures by Monir Shahroudy Farmanfarmaian in her major retros pective at the High Museum of Art in Atlanta. Thanks to the work of Head of Curatorial Affairs Magnus af Petersens, supported by the investment committee, a num-ber of important loans are already planned for the coming years, and exhibi-tions based on the Arte Collectum collection are being scheduled in dialogue with important museums around the world. In a way, this development is only natural : we are buying with the same criteria as a major museum. Just like they are, were just looking for the key works in an artists oeuvre, the works that should be included in her or his retrospective.If the first part of the Arte Collectum strategy can be said to be activist, we see these close collaborations with museums and Kunsthallen around the world as the activating part. For the benefit of the artist, the publicand of course also the investor. Needless to say, this activation of our collec-tion has been applauded by artists and galleries, and, as you can see in this book, has also given us access to extraordinary works on the primary mar-ket, from both artists and artists estates. On behalf of the Arte Collectum team I hereby take the opportunity to thank everyone in the complex network we call the art world, as well as our investors, for your trust in and support of our project. I see this book, which represents the works acquired by the fund during its first year, as humble proof of how supporting artists can work hand in hand with good, sustainable investments. 4Now, enjoy!Endnotes 1Please bear with this neologism. If I write women artists, I disqualify them as artists since that term automatically implies artists are men. Griselda Pollock, Between a Rock and a Hard Place, in Action, Gesture, Paint : Women Artists and Global Abstraction 19401970, exh. cat. (London : Whitechapel Gallery, 2023), p. 14.2All data here and below from Julia Halperin and Charlotte Burns, The Burns Halperin Report, Artnet News, December 13, 2022. Available online at https : / /news.artnet.com /art-world /letter-from-the-editors-introducing-the-2022-burns-halperin-report-2227445, accessed May 22, 2023.3See John Peter Nilsson, ed., Det Andra nskemuseet /The Second Museum of Our Wishes (Stockholm : Moderna Museet, 2010). 4If you wish to follow how the collection develops further, please visit 12 https://artecollectum.com/'