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APRIL | PAGE 39 | 2016 Above: Barbara Davis and Jackson. Above left: In the living room, carefully edited furniture placed in dialogue with works of art evidence Davis' interest and curiosity about design. The natural oak Eaton bench from Ligne Roset serves as a perch for, from left, a portrait of Willem de Kooning, circa 1980s; a Jasper Johns print; and the book Andy Warhol in China: The Photographs of Christopher Makos. Philippe Starck Charles Ghost stool from Sunset Settings. Continued on page 40 imagery and brash, bold or big statement artworks. Asked why her home is so restrained, the dealer succinctly says, "My home is my cathedral." As we glide up the elevator, stroll down the hall of the classic Cesar Pelli-designed high-rise and step inside, we see what art and furnishings made the cut and also take this occasion for a tête-à-tête with a tenacious art-world insider. 15 QUESTIONS First encounter with the art world. I was exposed to contemporary art later in life and became very passionate about it. I remember the impact Andy Warhol had on society during the 1970s. That is when I initially became very interested. In the beginning. The gallery opened in 1981. There were very few galleries in Houston during the 1980s. And at that time, there was little exposure to contemporary art. Trajectory and timeline. My very first gallery was only 400 square feet. Eventually, I moved to a larger space on Michele De Lucchi's Memphis table and chairs from the Memphis Milano Collection, 1983. On the wall, Andrea Bianconi's Aladdin's Lamp, 2015, a site- specific drawing inspired by the fable of Aladdin and the Wonderful Lamp. Right: Bianconi's Where?, 2013, a child's bicycle encased in glue and white-enamel paint. Foreground: a sculpture by Allan Hacklin, circa 1980s. The artist played a pivotal role in Houston art history: He founded the Core Program at the Museum of Fine Arts, Houston's Glassell School of Art.