Rockefeller. Annenberg. Guggenheim. Whitney. Herb and Dorothy?

In the early 1960’s, pop art was emerging and abstract expressionism was all the rage, leading famous art collectors to vie for the last Jackson Pollock or the next Andy Warhol. Meanwhile, Herb and Dorothy Vogel, a postal clerk and a librarian, began purchasing works by unknown minimalist and conceptual artists. Herb’s modest salary paid for the art, while Dorothy’s salary covered their living expenses. Their collection was governed by two simple principles:  pieces must have a modest enough price tag to fit their budget, and they must fit into their one-bedroom Manhattan apartment.

Over four decades, the Vogels amassed a remarkable collection of over 4,000 works, including ones by Sol LeWitt, Christo, Richard Tuttle, Chuck Close and Lawrence Weiner—artists the Vogels supported and befriended in the humble beginnings of their careers.

Many works were purchased for a nominal fee, and now the collection is valued at several million dollars. Yet the Vogels have never sold a single piece for profit. Instead, they made headlines in 1992 when they donated their entire collection to the National Gallery of Art in Washington, DC.

What did they do with all of the extra space in their newly empty apartment? Start filling it up with more art, naturally.

Megumi Sasaki’s delightful directorial debut brings long overdue attention to these most humble and unassuming patrons and is a celebration of their passion and commitment to the arts—the legacy they have left to future generations.

-Sky Sitney