A collective of Black art collectors convened at Navy Pier in Chicago on Thursday to mark their ongoing efforts to build community and support Black artists within the contemporary art world. The gathering took place during Expo Chicago, an annual international art fair, where members of the Black Collectors Guild came together from cities across the United States, including Washington, D.C., Atlanta, Kansas City, and St. Louis.
Founded in 2020 by Chicago engineer Chris Craft, the guild now encompasses over 100 members worldwide, spanning diverse professions such as healthcare and military service. The group uses both virtual platforms and in-person meetings like this expo to share knowledge, exchange acquisition strategies, and amplify the presence of Black artists in museum collections and exhibitions. Members noted that the guild creates a rare space for camaraderie and collective support within an industry that has historically excluded or marginalized Black voices.
“This is about supporting artists, getting their work out there and showing that Black people are active and influential in the art world,” said co-founder Dwight Smith, a retired Army veteran based in Kansas City, Missouri. Smith highlighted the guild’s dedication to not only collecting established artists but also uplifting emerging creators, particularly students who often lack institutional recognition.
Exhibiting at Expo Chicago, Ethiopian American artist Helina Metaferia acknowledged the group’s impact on her career. Several Black women in the guild purchased her sculptures—a wood and brass staff and a brass crown—with the latter being donated to a prominent museum’s permanent collection scheduled for announcement this spring. Metaferia described the support from Black women gallerists and collectors as empowering and vital to preserving the legacies of women of color.
The guild’s influence extends beyond acquisitions to promoting Black art representation in institutions where Black artists remain underrepresented. A 2022 study indicated that works by Black artists make up only 2.2% of museum acquisitions and 6.3% of exhibitions nationwide. Members like Smith have loaned pieces to regional museums and emphasized the importance of early-career support, citing institutional lag in recognizing Black artists until after they achieve broader acclaim.
The event also featured a visit to booths such as Superposition Gallery and Affinity Gallery, the latter showcasing Nigerian artists working with traditional African materials. “Seeing people who look like you helps build confidence,” noted gallerist Olu Affinity, emphasizing the mutual importance of supporting Black collectors and artists.
Among those attending was photographer and collector Jordan Porter-Woodruff of Chicago, who described the guild as instrumental in shaping her artistic identity and collector’s perspective. She recounted how Craft’s early purchase of her work boosted her confidence as she pursued fine arts alongside her career in medical photography.
Craft himself acknowledged that the guild’s network has propelled his own involvement in the art world, including a board position at the DuSable Black History Museum and Education Center. Another guild member and museum board colleague, Chris Eke, underscored the broader cultural mission of their work. “We have to be custodians of the art,” Eke said, “because you can’t control the culture if you don’t own the culture. These are our stories, and they’re priceless.”
Through collective effort, the Black Collectors Guild aims not only to enhance individual collections but also to foster greater visibility and institutional inclusion for Black artists, while cultivating a supportive community for Black collectors nationwide.