As part of our Edit’s Collection Building series, we explore the personal philosophies, relationships, and experiences that shape how collections take form. In this edition, we speak with Beau Necco, a Miami-based collector and entrepreneur whose approach to collecting, alongside his partner, Heather Martin, is grounded in curiosity, meaningful exchange, and the connections forged through art.
From his first acquisition to a collection shaped by studio visits, travel, and longstanding relationships with artists and galleries, Necco reflects on the importance of trust, discovery, and living with work that genuinely moves him. Below, he shares the joys of collecting, the value of supporting artists throughout their careers, and the role art fairs can play as spaces for discovery and human connection.
Untitled Art (UA): What does it mean to you to be a collector?
Beau Necco (BN): To me, collecting is about the connection. The works I live with remind me as much of conversations, friendships, and experiences as they do of aesthetics. Some of the most meaningful moments have been talking with artists, hearing how they think, and understanding what drives them.
UA: When and where did you start collecting? Do you remember the first work you acquired?
BN: I remember buying my first piece of art in 5th grade. It was a poster of a Van Gogh because that’s what I could afford at the time, and I hung it in my room like it was the most important thing in the world. At that age, it felt monumental. I was completely fascinated.
That feeling never left me. Art has always inspired me — visually, emotionally, and intellectually. Over time, what began as admiration evolved into collecting, but the feeling is still the same. I still buy work because something about it moves me.
UA: Do you have a specific philosophy you adhere to with your collecting and any advice you'd give to emerging collectors for how to meaningfully develop their own collections?
BN: My advice to emerging collectors is to spend time with artists and galleries before worrying about market conversations. Go to studios, ask questions, read, travel, and trust your eye. You don’t need to buy the biggest name in the room for a collection to have meaning. Often the most rewarding relationships come from supporting artists early and growing alongside them. And honestly, buy what you want to live with. If you wake up every morning excited to see it, that’s probably the right decision.
UA: How and where do you discover new artists?
BN: A lot of it comes through conversation. Galleries are incredibly important in that process, especially the ones that really nurture artists over the long term. I also discover artists through residencies, studio visits, institutional shows, and increasingly through recommendations from other artists themselves. Fairs like Untitled Art are also incredibly valuable because they create space for unexpected encounters. You walk in thinking you know what you’re looking for, and then something completely surprises you.
UA: Is there an artist or artists that you discovered or acquired at Untitled Art, and do you have any highlights from the fairs in Miami Beach or Houston?
BN: Some of my favorite moments last December came while working with Robert Diament from Carl Freedman Gallery at Untitled Art, Miami Beach. I was especially drawn to the work surrounding the Margate artists — Lola Stong-Brett, Laura Footes, and Lindsey Mendick. Their work is now in my home here in Miami.
Honestly, the highlight is rarely about the acquisition itself. It’s about meeting the artists, hearing the stories behind the work, and understanding the environments they come from. I was fortunate to meet Lola and Laura, among many others, and the great Tracey Emin when I visited Margate earlier this year. Those conversations stay with me as much as the pieces do.
UA: What resources have been most valuable in shaping your collection?
BN: Relationships, without question. Conversations with artists, gallerists, curators, and other collectors have shaped my perspective far more than any market report ever could. I also think travel has been essential. Seeing work in different contexts and countries — museums, artist studios, regional exhibitions — changes the way you understand it. Over time, you start noticing threads between artists and movements that help your collection develop naturally.
UA: What, in your opinion, should the role of art fairs be in this moment?
BN: I think art fairs should create access and dialogue. The best fairs aren’t just marketplaces — they’re cultural meeting points. They introduce people to artists they may never have encountered otherwise and create opportunities for real exchange.
UA: What do you enjoy most about Miami Art Week?
BN: The people. It’s always about the people. During Miami Art Week, the entire city transforms into this enormous conversation about culture, design, architecture, music, and art. But for me personally, the best part is always the human side of it — reconnecting with artists, meeting new people, and having those unexpected conversations that only seem to happen during that week. There’s an openness and creative energy that feels really special.