As part of Untitled Edit’s series on Collection Building, we continue to spotlight collectors whose engagement with our fairs extends beyond acquisition and into advocacy, community, and cultural stewardship. This month, we turn our attention to Dallas-based collector Sheryl Adkins-Green, Vice President of the Board of the Dallas Museum of Art, whose collection has, for more than two decades, centered artists and narratives that reflect the breadth and complexity of the African American experience. In our conversation, Adkins-Green reflects on collecting as a practice of relationship building, the importance of supporting artists directly, and the role art fairs continue to play in shaping her discoveries.
Untitled Art (UA): How and where do you discover new artists?
Sheryl Adkins-Green (SA-G): I take every opportunity to discover artists who are new to me. Fairs like Untitled Art bring together an incredible range of galleries from around the world, each presenting work they’ve thoughtfully curated. I also love asking the artists in my collection, “Who’s on your watch list? Who’s on your wish list?” Artists are often the best guides to the next generation of talent.
UA: When and where did you start collecting? Do you remember the first work you acquired?
SA-G: I’ve always loved jazz, and for years I regularly attended the Montreal Jazz Festival. Jazz and contemporary art share a special kinship—both rely on improvisation, experimentation, and a deep trust in the artist’s unique voice. Each year, I would buy small works of art as “souvenirs.” One year, however, I came upon a large, vibrant oil painting of Billie Holiday by Canadian artist Sébastian Maltais. It literally stopped me in my tracks. That piece became a cornerstone of my collection and marked the moment I shifted from buying art to truly collecting it.
UA: What does it mean to you to be a collector?
SA-G: Being an art collector means stepping into a role that is both deeply personal and quietly influential. It’s not simply about acquiring objects, it’s about building relationships with artists, understanding their practices, and staying connected to the communities that form around their work. Collectors become stewards of ideas: the memories, histories, and questions that artists embed in their creations. For me, collecting is ultimately about creating connections—between artists and audiences, between ideas and lived experience, and between the stories held in artworks and the people who encounter them.
UA: Is there an artist you discovered or acquired at Untitled Art?
SA-G: Untitled Art has played a meaningful role in the evolution of my collection for several years. I consistently discover—and often meet—new artists at each fair. There have been so many important finds that it’s difficult for me to highlight just one.
UA: What, in your opinion, should the role of art fairs be at this moment?
SA-G: As interest in art continues to grow, art fairs have a unique opportunity to create shared value—not just sales—by engaging new and future collectors and sparking discovery, dialogue, and genuine connection across the art community. By focusing on content and experiences that truly engage audiences and elevate artists and their galleries, fairs can create and shape a community where relationships are built and nurtured - relationships that benefit all.
UA: Do you have a specific philosophy you adhere to with your collecting, and any advice for emerging collectors?
SA-G: My guiding principle—and the advice I always share—is to collect what you love. Select works you want to live with, that spark curiosity, and that you can’t wait to share with others. Beauty and value are personal filters; there is no “wrong” choice if a work’s story resonates with you. A meaningful collection grows from passion, not pressure.