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Opening 12:00pm ET, February 24, 2026
\nClosing 12:00pm ET, March 10, 2026
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\n","auctionDetailsSmall","24 February - 10 March 2026","extraInfo","

Katerina Blackwood
\nSpecialist, Head of Online Sales
\nkblackwood@phillips.com
\n+1 212 940 1248
\n

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Yacov Arnopolin at home with works from his collection by Ed Ruscha, Annie Morris, and Claudio Bravo.

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Across our upcoming New York Modern & Contemporary Art live and online auctions, collectors will discover a selection of incredible works being offered in support of the Cancer Research Institute, many of which were donated directly to the sales by the artists.

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CRI trustee Yacov Arnopolin, a collector with a lifelong passion for art, discusses the initiative and invites us to view his personal collection.

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PHILLIPS: How do you approach philanthropy and what led you to choose the Cancer Research Institute (CRI)?

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YACOV ARNOPOLIN: Reading the legendary investor Byron Wien’s “20 Life Lessons” ages ago, I came upon his take on philanthropy: “My approach is to try to relieve pain rather than spread joy.” I found this very poignant — it would be fun to be involved with an art charity, but there’s too much suffering in the world. When I read that 1 out of 2 men and 1 out of 3 women get diagnosed with cancer over their lifetimes, it was an easy decision to make.

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Ed Ruscha, Blurred City, 2015. Modern & Contemporary Art New York.

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P: Tell us about your role at CRI and how the sale of these works supports the cause?

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YA: 2026 marks eleven years since I joined the Board of Trustees. Unfortunately, over that time, many relatives and friends have been diagnosed with cancer. The good news is the tally of tumors CRI’s breakthroughs can effectively combat has since increased to 30, with more to come. We naively think a single cure will let us win the “war on cancer,” but one realizes there are hundreds of tumors, each requiring its own approach.

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The number of grant request submissions has doubled year-on-year due to uncertainty over government support for science. CRI’s selection process has traditionally been very competitive — less than 1 in 10 applications gets funded — so there is plenty of room to endow outstanding science if more funds were available.

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P: What makes CRI’s approach so unique and effective?

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YA: When the Cancer Research Institute was founded in 1953, immunotherapy was a moonshot idea, whereas now it’s the cutting edge of science. The treatment’s power lies in using the body’s immune system to prevent and eliminate cancer. It can be far less invasive than traditional chemotherapy or radiation approaches and can enhance outcomes as a combination treatment.

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Over 9 million patients globally now benefit from the CRI’s research on cancer treatments. Thanks to its efficiency and focus, the Institute consistently ranks among the top 5% of charities.

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Jennifer Guidi, Downvalley, 2025. Modern & Contemporary Art New York.

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P: What are some of your favorite works from the selection?

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YA: Ed Ruscha’s Blurred City is a jaw-dropper. Ed has been a supporter of CRI for a decade, and his generosity is to thank for many a successful scientist! The smudged “CITY” is reminiscent of the energy and movement of any dynamic metropolis — there’s an urgency about the letters, a hectic pace.

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Jen Guidi’s and Joel Mesler’s works on paper also strike a chord. The magnetism of Jen’s pointillist composition is compounded by the almost tangible warmth of the sun. And Joel’s ebullient message “TO JOY” is a sentiment I have witnessed when interacting with so many cancer survivors helped by CRI.

\n\n

Sayre Gomez is another exciting contemporary artist, with a stellar show currently on view in LA. I love the hyperrealism and the focus on everyday objects and sites. Last but not least, I am in awe of Isabella Ducrot’s erudition and the multitude of references in her works. Now in her tenth decade, Ducrot used her extensive travels to create a unique voice influenced by the world of textiles.

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Joel Mesler, To Joy, 2025. Modern & Contemporary Art: Online Auction, New York.

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P: What inspired you to collect art?

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YA: Growing up in the Soviet Union, my dad would take me to open-air art fairs and bazaars that came to life under perestroika. It wasn’t easy to get those paintings into the US when we immigrated, but I was lucky to grow up with an eclectic mix of art on the walls. Once in America, as a chubby kid who couldn’t play any sports, I would attend weekend art history classes at the University of Pittsburgh. It was a dozen grandmas plus myself, but it led to a lifelong fascination with everything from Caravaggio to Rococo to Francis Bacon.

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P: With decades of experience in finance, we’re curious if investment value plays into how you collect?

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YA: It doesn’t. Inevitably, one makes the mistake along the way of “buying with the ears, not the eyes” — i.e., listening to tips on the next hot artist, rather than what actually resonates. In the end, art is about what you respond to and want to live with; all the speculation ends up in storage.

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An art advisor once said a collector should accumulate “eye mileage.” It’s a great concept, and every museum or gallery visit is a chance to learn and train one’s eye.

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Wolfgang Tillmans, Chrysanthemum, 2006. Modern & Contemporary Art: Online Auction, New York.

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P: What are your favorite works to live with?

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YA: I can never get enough of Ed Ruscha’s MEDICAL MARTINI — half the fun was coming up with the text!

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With revolutionary technology in every phone, we all think we are 21st century Arbuses and Avedons — but there’s still so much technique in photography, and to me, Wolfgang Tillmans is second to none.

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Lucian Freud's Woman with an Arm Tattoo hangs in Arnopolin’s sitting room.

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Finally, Lucian Freud’s Woman with an Arm Tattoo print is mesmerizing. There’s a tranquility but also vulnerability about a sleeping person. And as a Cancer Research Institute board member, I am confronted with our vulnerability as humans all too often.

\n\n

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Stanley Whitney, Untitled, 2016. Modern & Contemporary Art: Online Auction, New York.

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Callum Innes

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Callum Innes, Exposed Painting Dioxazine Violet, 2012. Modern & Contemporary Art: Online Auction, New York.

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Scottish painter Callum Innes is known for charged abstract paintings that work within the tradition of the monochrome. His washes of color, with their subtle gradations and interrupting rivulets, might first call to mind the pours and drips of Color Field painting, but he achieves these effects through a distinctive method. After applying a layer of paint to the canvas, Innes “unpaints” it by brushing over it with turpentine. He repeats this process to build the layers of pigment that give his paintings their mysterious, luminous quality. The violet sections of this particular work summon an almost textile quality beside the severe contrast of black and white.

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Jacqueline Humphries

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Jacqueline Humphries, Untitled, 1994. Modern & Contemporary Art: Online Auction, New York.

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This incredible serial work by Jacqueline Humphries comprises 36 panels grouped together. Taken individually, each panel iterates on a seeming opposition between a narrow, orange and ochre form made up of only a few brushstrokes, and a wider section of blue and black, monumental by contrast. Repeated and aligned in a grid, the panels become distinctly geometric, offering a regular rhythm within which variations of form can play. Born in New Orleans and active since the 1980s, that moment when painting died yet again, Humphries has experimented across multiple tendencies. While her earlier work explored expressionist modes, her practice has also interrogated the relationship of painting to the digital. This work seems almost to toggle between the two, drawing our attention to repetition as the source of something new.

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Walead Beshty

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Walead Beshty, 2 Sided Mirror Pair, 2010. Modern & Contemporary Art: Online Auction, New York.

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In this vibrant work, Los Angeles-based artist Walead Beshty wields the possibilities of photography to striking effect. In his practice, Beshty has explored the relationship between photography — that medium we might mistake for truth in representation — and reality. This particular diptych showcases two of Beshty’s photograms, produced through a camera-less process in which photographic paper is folded before being exposed to light. The resulting interlocking shapes and layered colors give a sense of why Beshty has called his work “concrete” photography. The two prints seem to fold in and out of each other, bringing an impression of constant motion.

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Stanley Whitney

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Stanley Whitney, Untitled, 2016. Modern & Contemporary Art: Online Auction, New York.

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One can hardly consider geometric abstraction without thinking of Stanley Whitney, the prolific, Philadelphia-born painter who has been experimenting with color and form since the 1960s. In his singular method, Whitney assembles gridded combinations of colored blocks and lines, improvising as a jazz musician would. According to Whitney, “Color dictates the structure, not the other way round.” This style developed in part under the influence of Roman art and architecture, drawing on Whitney’s time in Rome during the 1990s. Though his oil paintings can establish an almost monumental effect, this gouache on paper showcases a looser beauty.

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Hisao Domoto

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Hisao Domoto, Solution de Continuite #26, 1966. Modern & Contemporary Art: Online Auction, New York.

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Japanese artist Hisao Domoto became a devotee of Michel Tapié’s Art Informel movement while studying in Paris during the 1950s. He developed his signature style in 1956, using oil paint in thick layers and incorporating circles and other rounded forms. That style was guided by Domoto’s traditional Japanese Nihonga training, engaging the compositional rules and spiritual ideals of that lineage. Significantly, Domoto also introduced the members of Art Informel to Japanese Gutai. In this work, Domoto’s interest in the materiality of paint creates a multidimensional space. The thicker strokes of black paint appear almost wet against the smooth, regular pattern of black circles on a cobalt background, seeming to invite the viewer into another world.

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Rana Begum

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Rana Begum, No. 319, 2012. Modern & Contemporary Art: Online Auction, New York.

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Rana Begum works across painting, sculpture, and installation, often using industrial materials in her explorations of light, geometry, and color. Born in Bangladesh but raised partly in England, Begum’s practice deftly combines minimalist and constructivist impulses with personal inspiration. Begum connects her use of pattern to the repetition of childhood Qur’an recitals, as well as to the use of geometric imagery in Islamic art. Here, Begum’s folded steel object celebrates the capacity of art’s simplest elements — line, color, shape — to evoke whatever the viewer’s eye might be open to. A profound calm juxtaposed by the enduring vitality of color gives this work a patient, meditative quality.

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Hsiao Chin

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Hsiao Chin, Tension-I, 1986. Modern & Contemporary Art: Online Auction, New York.

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Shanghai-born painter Hsiao Chin trained in Taipei. In 1956, he became one of the founders of Eastern Art Group, also known as Tung fang, one of the earliest modern art groups in Taiwan. Chin and his fellow members sought to synthesize modernism and traditional Chinese painting, bringing the influence of American abstraction to Taiwan, in defiance of Chinese government policies. As Chin's career progressed, he became increasingly interested in Eastern spiritual philosophies, especially Zen and Taoism. In this elegant painting, Chin’s restraint and masterful wielding of composition yields the sublime tension referenced in the work's title. Form and void seem to toy with each other in a delicate balance.

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Discover more from Modern & Contemporary Art: Online Auction, New York >

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“My paintings reflect my vision of life, which has no beginning or end and never stops.”
\n—Hsiao Chin

\n\n

In Tension-I (1968), a trapezoidal stretch of burnt orange nearly imbricates with a smaller diagonal striped orange and blue; the feather-thin gap between these two forms a site of frisson or charged potential. As a pioneer of modern abstract art, the Taiwanese painter Hsiao Chin siphons energy into form here, channeling the emotive potential of restraint. Once engaged with, a few lines or a selection of colors can unfurl into a plethora of signals, emitting multiple meanings.

\n\n

Indeed, Hsiao has compared his image-making to writing; admiring calligraphy as “a series of intuitive gestures,” one “inherently abstract.”ⁱ His work plumbs the tradition of Eastern calligraphy and conjures the abstract patterning that characterizes Tibetan painting historically, combining multiple influences to create a singular output. In the early 1960s, Hsiao immersed himself in foundational Daoist writings and Tibetan Buddhist painting, resulting in Minimalist compositions that privileged geometric form as a point of meditation.

\n\n

His Hard Edge series, the present work a prime example, encompasses the time Hsiao lived in New York City (1967–1972), known as his American period. Hsiao lived throughout Europe and the United States from 1956 onward, fraternizing with prominent artists such as Mark Rothko, Willem de Kooning and Robert Rauschenberg. Hsiao was the first person to exhibit Lucio Fontana’s work in Taiwan; an artist who similarly considers ways to visually articulate the ineffable and the in-between.

\n\n

\"\" — Lucio Fontana, *Concetto spaziale, Attese*, 1965. The Solomon R. Guggenheim Foundation Gift, Fondazione Lucio Fontana. Image: The Solomon R. Guggenheim Museum/New York, NY/USA, Artwork: © 2026 Fondation Lucio Fontana/Artists Rights Society (ARS), New York

\n\n

Upon moving to New York, Hsiao Chin experienced impactful cultural shock, noting that Americans are “cold and rational; even their mysticism has been filtered through rationality. This aspect led me to more rigorous introspection, and for the same reason, my painting style shifted.”ⁱⁱ The lack of cultural-historical depth of American society drove the artist to a level of solitude, allowing him to create works representing his multi-layered perceptions of reality through the language of Minimalism. Differentiating himself, Hsiao emphasized that while western Minimalist art is the outcome of rational structure, for him, it remained the product of intuitive thought that characterized his practice throughout its unique periods.

\n\n

Tension-I (1968) traces a point of possible convergence and the attendant meanings it stores. Rather than restrictive, the simplicity of its composition ultimately allows for the pointedness and poignancy of its delivery.

\n\n

ⁱ“Interview of Hsiao Chin,” Galerie Vazieux, October 2, 2018, video, online.

\n\n

ⁱⁱHsiao Chin, “A Stylistic Turn,” Artist Magazine, vol. 104, January 1973, pp. 68–70.

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53

Hsiao Chin

Tension-I

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Hsiao Chin