Last summer, my restless art syndrome led me on an unforgettable journey to the Brooklyn Museum for one of the most inspiring exhibitions I’ve experienced: “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys.” As a longtime admirer of Alicia Keys and a passionate art enthusiast, this exhibition was an absolute must-see that perfectly combined my twin loves.

The Power Couple Behind the Collection

Musicians Swizz Beatz (Kasseem Dean) and Alicia Keys have created one of the most important collections of contemporary art, championing a philosophy of “artists supporting artists.” Over the past twenty-five years, the couple has cultivated sustained relationships with global artists by frequenting galleries, asking questions of dealers, and developing their taste in art. What struck me most was learning that Dean owns over 1,000 works, making this exhibition just a focused glimpse into their vast holdings.

A Celebration of Black Diasporic Art

The exhibition highlights nearly 100 significant works by Black diasporic artists, including Gordon Parks, Jean-Michel Basquiat, Lorna Simpson, Amy Sherald, and more. Walking through the galleries, I was immediately struck by how the exhibit is set up as if in a series of comfortable living rooms, with couches and speakers, playing music chosen by Dean – creating an intimate, homey atmosphere that made the art feel accessible and alive.

The exhibition thoughtfully organizes the works into thematic sections that create powerful conversations between past and present. “On the Shoulders of Giants” features work by elder artists who have left an indelible mark on the world, while “Giant Conversations” explores how artists have always critiqued and commented on the world around them.

My Favorite: Derrick Adams’ Joyful Pool Scenes

The piece that absolutely captured my heart was Derrick Adams’s “Floater 74” (2018), depicting a luxurious pool scene complete with giant floats and sunbathers. Adams’s Floater works, produced between 2016 and 2019, represent Black people at leisure on vibrant pool floats, centering the Black body at rest and transforming commonplace social gatherings into a radical conversation on who is permitted to experience leisure.

The Floaters series is a collection of vividly painted portraits depicting Black people in various states of rest and play, buoyantly floating on calm waters. Relaxed bodies, some with a gentle grin, others holding a summertime beverage, melt into rainbow-colored unicorns or candy shaped plastic floaties. The bright, saturated colors and geometric style made the work feel both contemporary and timeless – pure visual joy that made me smile every time I looked at it.

What makes Adams’ work particularly powerful is its intentionality. When Derrick Adams wanted to make paintings of pool recreation, he was surprised to find no related images online of people who looked like him. Historically, African Americans weren’t free to gather and assemble, and the series also debunks cultural stereotypes of Black people’s relationship with swimming.

The Collectors’ Vision

The Dean Collection reflects the couple’s diverse passions, including their early acquisitions of albums, musical equipment, and BMX bikes and their present-day philosophy: “By the artist, for the artist, with the people.” As Swizz explained in a video accompanying the exhibition, they are not in the “hype race of collecting.” He added: “It’s for the longevity play.”

The exhibition reflects the Deans’ passion for supporting established and emerging artists while fostering important dialogues about art, culture, and identity. What’s particularly impressive is their commitment to living artists and building relationships with the creative community rather than simply acquiring blue-chip works.

The Emotional Impact

The exhibition took two years to coalesce, much of that time wrapped up in conversations with the Deans, centered on rendering their collecting ethos into an exhibition narrative. The result was deeply moving – Swizz was so overwhelmed when he first saw the complete exhibition that he texted Keys “You’re gonna freak out,” and footage showed Keys “bawling” when she saw it for the first time.

Standing in those galleries, surrounded by such powerful work and feeling the love and intention behind every piece, I understood their emotional response completely. The exhibition wasn’t just about displaying art – it was about celebrating the giants whose shoulders we all stand on and creating space for joy, beauty, and recognition.

Continuing the Journey

Update for fellow art travelers: Giants is now showing at the Minneapolis Institute of Art through July 13, 2025. If you have the chance to experience this exhibition, don’t miss it. It’s a testament to the power of passionate collecting and the importance of supporting living artists.

The Giants exhibition reminded me why I started this blog – art has the power to transport, inspire, and create connections across time and space. Sometimes the most restless art syndrome can only be cured by witnessing something truly extraordinary, and this collection delivered that feeling in abundance.

If this exhibit comes to a museum near you spend the time to immerse yourself in this incredible collection.