East Gallery

West Wing Gallery

Mezzanine

2nd Floor East Gallery

Film Noir Room

Christmas Room

(No) Smoking Room

Tiny Giants Room

“Will you stop buying art when you run out of wall space?” It’s a legitimate question for a modest collector like me but when you’re Beth Rudin DeWoody, you simply buy a 20,000 Sq Ft former toy factory and turn it into your personal art play space. I was told it’s named after the road on which it’s located but since it’s not a gallery (nothing’s for sale) and it’s not a museum (can’t get the zoning) and it’s not even open to the public (invitation only!) The Bunker has an incredibly appropriate name.

So… what’s actually inside?

Once a year DeWoody, her staff and special guest curators re-hang the space pulling from the 10,000+ works in her collection. You read that correctly: TEN THOUSAND! Beth has been collecting since she was 18 and now has so much art she can casually hide away an early Kehinde Wiley in an out-of-the-way alcove by the accessible toilet. It’s an impressive piece, but the location is telling. Her very first purchase, a humble pen and ink drawing, has a much more prominent place in the show.

“Beth is not a trophy collector. She’s buying based on objects she loves and that tell interesting things about where the artist is at... They end up becoming very illuminating works.” That’s a quote from Beth’s personal friend and director of the Brooklyn Museum, Anne Pasternak, who co-curated the main gallery. It’s one of three large rooms in the current hang that are comprised mostly with textiles and ceramics: two materials gaining renewed appreciation and prominence in the art scene.

As you move through the show, Beth’s personality and approach to art becomes evident. There’s a distinct sense of fun, which is most amusingly apparent in the rooms highlighting themes in her collection. This year it’s Small Works, Smoking, Christmas and Film Noir.

Across the galleries there’s about 300 pieces on display, but keep your eyes peeled because art is everywhere. In the toilets, in the kitchens, in the elevator (an alligator chair you can sit on!) and even hiding in plain sight on almost every bookshelf in the library.

And because this is a private collection, there are no overwrought wall writings that try to succinctly explain complex racial or gender issues in a few pithy sentences. In fact, there are barely any notes at all, save for the helpful lists of works. And a brilliant essay for the Film Noir rooms written by Beth’s friend Eddie Muller, who hosts Turner Classic Movies. What I wouldn’t give to sneak a peek at Beth’s contacts list!

But since you’re probably not on that list, you’ll have to luck your way onto one of the scheduled private tours that happen throughout the year. In my case, many thanks go to my friends at Funding Arts Broward for inviting me along.