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Collecting with Purpose: Martin Margulies on Passion, Philanthropy, and a Life Shaped by Art
South Florida is home to a remarkable community of influential collectors, many of whom play a pivotal role in shaping the region’s cultural landscape. Among them, Martin Margulies stands out as one of the most prominent figures—both locally and globally. A successful real-estate developer and longtime patron of the arts, Margulies has built one of the world’s most respected private collections of contemporary art, today valued in the hundreds of millions.
Included in the Artnews Top 200 Collectors, his collection now comprises more than 5,000 works: sculptures, installations, paintings, photographs, and video art. But Margulies is known not only for the scale of his acquisitions — he was also among the first in South Florida to create a publicly accessible exhibition space. The Margulies Warehouse, located in the Wynwood Arts District, has become a cultural landmark, showcasing works by Joan Miró, Isamu Noguchi, Willem de Kooning, Richard Serra, Claes Oldenburg, Andy Warhol, Roy Lichtenstein, Richard Long, and many others.
Margulies’ long-term philanthropic work has significantly influenced Miami’s cultural infrastructure. Many pieces from his collection have been donated to museums and educational institutions across Florida and beyond, establishing him as one of the state’s most dedicated cultural patrons.
Included in the Artnews Top 200 Collectors, his collection now comprises more than 5,000 works: sculptures, installations, paintings, photographs, and video art. But Margulies is known not only for the scale of his acquisitions — he was also among the first in South Florida to create a publicly accessible exhibition space. The Margulies Warehouse, located in the Wynwood Arts District, has become a cultural landmark, showcasing works by Joan Miró, Isamu Noguchi, Willem de Kooning, Richard Serra, Claes Oldenburg, Andy Warhol, Roy Lichtenstein, Richard Long, and many others.
Margulies’ long-term philanthropic work has significantly influenced Miami’s cultural infrastructure. Many pieces from his collection have been donated to museums and educational institutions across Florida and beyond, establishing him as one of the state’s most dedicated cultural patrons.
Gallery
JB:
In 1973, you acquired your first artworks—pieces by Picasso and Chagall. What drew you to make those initial purchases?
MM:
In 1973, I went to the Robert and Ethel Scull Collection Auction at Sotheby’s Parke-Bernet on Madison Avenue. The Sculls collected relatively young artists at the time such as Jasper Johns, Claes Oldenburg, John Chamberlain, Robert Rauschenberg, and James Rosenquist. I observed the bidding and I said to myself, these seem to be smart and astute people, there must be something to this.
JB:
You work in large-scale real estate. Do you see any parallels between running a business and building an art collection?
MM:
Business is business. Art is art. Altogether different.
JB:
When did you realize collecting would become a serious lifelong pursuit?
MM:
I made a commitment to building a collection when I purchased my first work by Isamu Noguchi. I was trying to bid at auction by myself and was unable to acquire the lot. A woman from Texas, by the name of Shaindy Fenton, tapped me on the shoulder and passed me her business card and said, “I can get you a Noguchi.”
She knew the great dealers of the time—Castelli, Arne Glimcher, Arnold Herstand—and the artists trusted her. She introduced me to galleries, often alongside Texas collectors Ray and Patsy Nasher. That experience opened a new world to me. It was illogical, mysterious, intriguing — nothing like my business life. I began learning and have continued ever since.
She knew the great dealers of the time—Castelli, Arne Glimcher, Arnold Herstand—and the artists trusted her. She introduced me to galleries, often alongside Texas collectors Ray and Patsy Nasher. That experience opened a new world to me. It was illogical, mysterious, intriguing — nothing like my business life. I began learning and have continued ever since.
JB:
Is there a specific strategy that guides how you collect?
MM:
There has never been a strategy, and that's what makes it enjoyable. You need to educate yourself — read, visit museums, meet curators, see other collections, support galleries and artists. Your collection grows out of passion, not planning.
JB:
How different is it to see a Miró in a museum versus owning one and living with it?
MM:
Living with art is an entirely different experience. When a work becomes part of your daily environment, you see it constantly — morning, afternoon, evening, even in the dark. It integrates into your life.
JB:
You’ve said before: “Buy and hold.” What does “investing in art” mean to you personally?
MM:
I do not invest in art. It has become my life, alongside my children. My business allows me to collect extensively, but I am never liquid — I am always buying art. Although I never collected for investment, it has turned out to be a great investment. This is what I mean when I say the art world is an illogical activity.
JB:
Florida has a strong culture of patronage. What shaped your commitment to supporting the arts?
MM:
From the very beginning, I opened my collection to the public. We have made major donations to universities and colleges across Florida and beyond. Our mission has always been rooted in education, and students remain a major focus. Visitors come from around the world, and we welcome them all.
By Julia Bikbulatova