It’s now two decades since Julia Stoschek started buying art. During that time, as the energetic heiress has showcased her collection at dedicated venues in Düsseldorf and Berlin, Stoschek’s taste for moving-image, time-based and digital art has marked her as a rare collector with a clearcut, non-identikit agenda. In 2023, while continuing to sit on the board of KW Institute, Stoschek oversaw shows by underknown septuagenarian Black video artist Ulysses Jenkins and emerging South Korean multimedia artist Young-jun Tak, a six-decade survey of video-based performance art and a Hans Ulrich Obrist-curated exploration of the intersection between art and videogames. Meanwhile, after a 2022 marred by revelations of her great-grandfather’s wartime involvement with the Nazi Party, this year Stoschek sought to redirect the narrative forwards, her foundation announcing a long-term resource-sharing collaboration with the Düsseldorf Art Academy. For someone so frequently invested in art’s present and near future, it’s an on-brand move.