Describe your collection in four words.
Celebration of female excellence.
How has your career influenced your collecting, and vice versa?
I came to the U.S. to study computer science in grad school at Stanford, where I was one of three women in a class of 100. But I worked hard and rose fast. I ran a $100 million business at Netscape by the time I was 28, even though the tech world was, and still is, a boys’ club. Motherhood was an eye-opening experience that made me realize how hard it still is to balance work and family for women, along with the stereotypes and bias that girls and women have to deal with. So, when I began to collect, I was driven to address the gender disparity and that is where I put my focus. The tech world also prepared me to take risks and to listen to my heart. I go out on a limb for artists I believe in.
Abstract or figurative, and why?
I am drawn to abstraction for its vibrancy and the fact that it offers a universal language for expression by blurring boundaries of gender, race and geography. It is personal, too, in that the viewer brings their own eyes and associations to how they experience an abstract work. I constantly find new surprises in the pieces I have lived with for many years.
Who is the most important historical figure in art?
For our collection—one that is focused on the artists of today—it is Joan Mitchell. She not only stood her ground in the male-dominated realm of abstract expressionism, but her practice also continued to evolve every decade, reaching new heights until the very end. I love the confidence and vigor of her 1990s paintings, it is as if she felt free from all the expectations of the world. It felt deeply significant when we added her last painting, from 1992, to the collection.
How do you live with your collection?
My husband Gaurav and I try to install as many works as we can at home. We have removed several fireplaces and raised the ceiling in our hallway to be able to install large works. Unfortunately, we don’t have enough wall space to have everything on view at once, so we rotate works out based on new acquisitions, museum loans or to rest works from the light.
Favorite curator and why?
This is a hard one. I’d have to say Cecilia Alemani. We had been friends for many years but when I saw her Venice Biennale in 2022—where about 90% of the artists were women—I was truly blown away. Not only did it receive rave reviews, Cecilia’s Biennale also had the highest attendance ever, up 35% from the show prior. I would also include curators Mark Godfrey and Katy Siegel, for their ability to expand the canon with scholarship and brilliant shows.
Favorite city for art and why?
I spend a lot of time in New York, and more so this past year, and I love every minute. While the galleries and museums are top-notch, it’s really the community of artists that I love the most. Earlier this year, Cecilia Alemani and I had a joint birthday party and invited about 30 artists across generations. It was so special—a birthday I will remember forever—and it could only have happened in New York.
What “tools of the trade” do you use to build your collection?
I use it all—from auction websites to gallerists—but what’s been most valuable is building relationships with artists and curators. They are the true visionaries, and the best ones are gifted storytellers.
Best art gift, given or received?
I recently received a gift from my dear friend, Kay WalkingStick. It is a stunning work from 1975 and I’ll cherish it forever.
Which collector, past or present, do you admire?
Aggie Gund. Her vision as both a collector and a philanthropist is unparalleled and has truly made an impact.
Favorite art or art historical fact?
Can I give you one of my least favorite facts? The latest Art Market Report from Art Basel and UBS shows that, over the past two years, female artists still represented a minority of gallery sales. In the same period, total spending on works by female artists was just 39%, compared with 61% spent on works by male artists. I think it’s important to understand that the inequity is real, quantifiable and, while there has certainly been progress for women artists in the past decades, we still have a long way to go.
Does art play a role in your romantic relationship?
Absolutely! In the 25 years of our marriage, Gaurav and I have loved visiting museums wherever we travel. We have an affinity for abstraction and a shared commitment to supporting women artists. It has been one of the most rewarding experiences of our lives, second only to raising our children. Men are extremely important advocates and beneficiaries of work by women artists, and I was lucky enough to marry an advocate.
Why is philanthropy important?
Philanthropy has been part of our journey all along. We established the Shah Garg Foundation to support and produce exhibitions and scholarship on women artists. I also hold board and council positions at a number of institutions including SFMOMA, Studio Museum in Harlem, Hammer and MoMA. Investing time and resources into the arts ecosystem is crucial, as arts philanthropy is still minor compared to health and education. I have also found that working directly with institutions, curators and acquisitions teams has taught me a great deal and made me a more rigorous collector.
What was the most recent art addition to your collection?
I just bought a fabulous work by Tadáskía, a young artist from Brazil whose first solo presentation in the U.S. was on view at MoMA this summer, organized in collaboration with the Studio Museum in Harlem. I was absolutely blown away by the joy and exuberance of Tadáskía’s work, and was lucky enough to meet her and get a walk-through of the show.
What exhibition are you looking forward to visiting?
I am a bit biased, but I am enjoying the second stop of “Making Their Mark,” a traveling show of our collection, which is on at Berkeley Art Museum and Pacific Film Archive until April 2025. The exhibition is co-curated by Cecilia Alemani and Margot Norton. Programming and education initiatives are priorities for our foundation, so I’m excited to engage with students and the wider community in the San Francisco Bay Area, which has been my home for the past 33 years.
Who is the most unjustly overlooked artist?
Elizabeth Murray. Her work is singular and her influence on both her peers and younger generations of artists is undeniable, yet her market and international recognition still isn’t where it should be.
What piece did you get for an especially good deal?
Well, I would say that nearly all the work in my collection was a good deal because work by women artists has been undervalued. It is deeply satisfying to see important artists such as Joan Mitchell, Amy Sillman, Simone Leigh, Jaune Quick-to-See Smith, Howardena Pindell and Pat Steir get institutional and market recognition.
Are art and fashion connected?
I believe they are truly intertwined. Both harness the power of the aesthetic and ideas to uplift us, and both reflect the current moment and spirit. I am excited that collaborations between artists and fashion houses have also become more prevalent and powerful. For instance, Dior’s Maria Grazia Chiuri has been an avid supporter of women artists, and partners with many for her shows. At fashion week in Paris this past June, I was fortunate to witness the paintings and tapestries of Faith Ringgold in the Dior show. The year before, I saw the magical fountains by Lynda Benglis in the Loewe show. These shows expose great art to a diverse audience and exemplify the synergistic relationship.
What tips do you have for collectors who are starting out?
Build a collection that moves you personally. Take time to understand your taste and voice, and think about the narrative of your collection. Collecting is as much about the journey—experiencing the thrill of seeing amazing artwork, having incredible conversations and experiences and learning—as it is about the final collection you will build.
