On Bloomberg, Lindsay Pollock gets of glimpse of the way Adam Sender lives with his 800-work art collection:
In the trading room, the light is movie-theater low. Sender, who declined to be interviewed, is seated at what resembles a science-fiction command center, surrounded by two dozen glowing monitors.
Out in the hall, a Kara Walker mural runs along a wall. A pink-and-green neon sculpture by minimalist Dan Flavin illuminates a corner. An otherwise generic conference room is hung with a piercing John Currin painting. “The Activists” depicts a frail elderly woman seated before a microphone, holding a sheet with a presumed list of grievances.
“The traders are so focused on finance, the art gives them a break,” Aibel says.