Specialized Storage and Services for Fine Art, Design, Collectibles and Furniture
The recently-released Art Basel and UBS Art Market Report offers a detailed snapshot of today’s art economy: fluctuating values, rising private sales, and an increasingly complex global market. Headlines often zero in on the numbers. But at Fortress, we’re uniquely attuned to what comes after the sale.
The report highlighted a notable 3% increase in global transaction volume despite a decline in aggregate sales value. This is largely driven by the continued rise of lower price point acquisitions—a potential sign that more people are entering the collecting world.
Fortress COO Thomas Burns shares, “Fortress has always served all segments of the art market, from new dealers to the most established galleries. I think that continued growth at lower price points is positive for the market. It often means that new collectors are buying art works, creating relationships with galleries, advisors, and artists.”
This democratization brings energy, diversity, and sustainability to the market. Many of today’s leading collectors began modestly. As Burns notes, “Many of the top collectors we work with built their collections in the 60s, 70s and 80s with relatively low-cost purchases that are now priceless. Proper care of these artworks over decades or longer has been instrumental to the long-term and increased value of these works.”
New collectors today have the same opportunity but only if they understand that art ownership comes with responsibility. That’s why Fortress is passionate about educating clients on best practices in preservation and insurance. Because great collections aren’t just bought—they’re built and maintained.
Another key finding from the report: 55% of High-Net-Worth Individuals (HNWIs) expect to sell works from their collections in 2025. This reinforces that storage is far from a passive phase.
“Fortress has always seen storage as a very ‘active’ phase of collecting, despite what people may assume,” Burns shares. “Fortress is often a place where collectors become organized and can make decisions about what and when they are selling.”
This includes facilitating private sales, a sector the report notes is continuing to grow. “I think that the Art Market Report stresses that private sales continue to grow, and we certainly see this happening at our storage facilities,” Burns adds. “It makes sense, because I think in this economy, people want to be able to make decisions over a certain period, not in the rush of an auction transaction.”
Fortress supports this evolution with services built for active collection management: secure storage units, comprehensive inventory systems, and professional art handlers for transport. We expect clients to engage with their collections and we’re designed to make that seamless.
Another standout statistic: 43% of HNWIs plan to donate or gift artworks in 2025, reflecting broader trends tied to the estimated $6.4 trillion intergenerational wealth transfer.
Whether it’s for philanthropic legacy or estate planning, these transitions are rarely simple. “The donation process is a longer process than an outright sale with multiple viewings, appraisals, etc., but certainly worthwhile to ensure long-term enjoyment by the public and preservation,” Burns explains.
He also flags a crucial reality: “this report more than anything shows that the market is continually changing and evolving. The old days of everything being immediately saleable at one auction house for strong prices is over.”
This underscores the need for strategy, patience, and trusted partners. “We are a place where calm and organized thoughts can take place, where objects are safe and preserved, where we have a network of appraisers, experts and advisors who can work together to create the best plan for these collections.” Whether preparing for donation, sale, or inheritance, Fortress ensures every step is grounded in clarity and discretion.
The report also reveals that while Contemporary art sales dipped by 11%, older sectors—including Post-War, Modern, and Old Masters—held steady or gained in sales. Fortress has witnessed this shift firsthand.
“Fortress’ observations support this thought. We have seen activity and sales in these categories of older works and have always worked with collectors of all types,” Burns notes. “The decline in antique sales is not surprising, but we have seen strength in design furniture and other art furniture pieces.”
While some interpret current patterns as a sign of “lack of curiosity” in collecting, our view is more nuanced. “Fortress certainly sees trends in collecting and purchases with many clients owning works by the same artist and seeing many of the same pieces move in and out of storage,” Burns admits. “But we also have to emphasize that our clients, in both Boston and Miami, are curious and buying new and challenging art.”
These market shifts—from increased collecting at lower price points to a growing focus on donation, resale, and legacy planning—all point to one conclusion: professional collection management is not optional. It’s essential.
At Fortress, we’re not just providing space. We’re active partners in the stewardship of private and institutional collections. Regardless of a collection’s size, value, or age, proper care and planning are the keys to long-term financial relevance. We’re proud to be part of that journey for so many collectors and ready to support the next generation of art lovers.
Whether you’re just starting out, planning a major donation, or preparing for a future sale, Fortress is here to help with every evolution of the art market.
Visit https://www.thefortress.com/ if you are you thinking about the lifecycle of your collection.
Because what happens after the purchase is where the real story begins.
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Thomas Burns is the Chief Operating Officer of the Fortress Corporation. Burns oversees the day-to-day operations of fine art handling and storage at Fortress’s facilities and provides logistical management to clients. Previously at Fortress, Burns was the Vice President and General Manager of Fortress New York for 10 years, working with top collectors, galleries, artists, corporations and foundations in New York City. He graduated with honors from Brown University and received an MBA from the Stern School of Business at New York University.
