In a special episode of Giving Back Is Dead, recorded during Paris Art Week at Palais de Tokyo, we bring together Guillaume Désanges, President of Palais de Tokyo, and Abby Pucker, Cultural Producer and Founder of Gertie, for a conversation about the evolving future of cultural funding.

The discussion explores how institutions and cultural leaders are moving beyond traditional patronage models—challenging the notion that access to the art world requires immense wealth or exclusive connections. As Pucker explains, her work with Gertie centers on creating open, immersive cultural experiences—where people engage directly with artists, exhibitions, and each other through shared journeys, community-driven membership models, and collaborative events.

Désanges offers the perspective from within a state-backed institution navigating the balance between public and private funding. For him, the coexistence of both creates not fragility but stability—a dual foundation built on diversity, shared responsibility, and renewal.

Together, they point toward a new paradigm for cultural ecosystems: one that replaces exclusivity with inclusion, and patronage with participation.

In this episode of Giving Back Is Dead, recorded at OFFSCREEN in Paris during our third year at the fair, we sit down with Dr. Brigitte Nicole Grice, president and co-founder of Chez Max et Dorothea, a 501(c)(3) nonprofit dedicated to preserving and expanding the legacy of Surrealism.

But Surrealism is more than just an artistic style—it’s a way of seeing, questioning, and reimagining the world. Chez Max et Dorothea is not just a residency or exhibition space; it’s a living environment where artists, scholars, curators, and poets can explore the radical, boundary-pushing ideas that have shaped contemporary art. With an 8,000 sq. ft. headquarters in Los Angeles and a mission to acquire Max Ernst and Dorothea Tanning’s final home in Seillans, France, the organization is creating a bridge between historical Surrealism and its influence on today's cultural landscape.

Brigitte shares her journey from academia to nonprofit leadership, the significance of Los Angeles in the Surrealist movement, and why preserving artistic legacies is essential for fostering new creative futures. Tune in for a conversation on how giving back to the arts isn’t just about preservation—it’s about keeping the spirit of innovation and imagination alive.

Watch now and learn how you can be part of this extraordinary project.

In this week’s episode of Giving Back is Dead, we’re joined by Sophie Neuendorf, Vice President at Artnet and Professor at IE University School of Humanities, for an insightful discussion on the evolving role of art in the market, social change and the importance of Giving.

Sophie shares how she and her brothers started an artist residency in Mallorca, inspired by their father’s legacy of supporting artists. The residency offers a serene space for artists to create, culminating in exhibitions and features on Artnet News. This initiative is a reflection of Sophie’s commitment to fostering creativity and supporting emerging artists beyond just financial means.

Sophie also teaches at IE University, where she helps students navigate the art market, not only as an investment but with a deeper understanding of art’s cultural significance. She emphasizes the importance of blending passion with financial insight and encourages students to see art as both a personal and financial asset.

The conversation touches on the growing influence of artists in addressing social issues, from climate change to movements like Black Lives Matter. Sophie sees today’s media landscape as providing artists with more opportunities to drive societal change through their work.

On the topic of data, Sophie points out that Artnet relies on secondary market data due to the challenges in verifying primary market information from galleries. While galleries play a key role, she believes accurate data is essential for making informed decisions in the art world.

Sophie also explores the importance of funding the arts, arguing that the arts have always been central to defining cultures and nations. She questions the morality of cutting funding to something so integral to society’s fabric.