Any doubt among critics regarding the seriousness of Hoffmann’s now fully open LUMA Foundation campus in Arles was put to rest with the exhibition of work by Diana Arbus, 454 printer’s proofs owned by the collector: ‘a dizzying installation’, reckoned Artforum, ‘extraordinary’, said The Guardian. With a curatorial advisory board including Hans Ulrich Obrist and Tom Eccles, Hoffmann has the clout to bring in the big names: Carrie Mae Weems and Theaster Gates were among the other shows. And she has the finances to back them too: part of the Roche pharmaceuticals dynasty (profits boosted by COVID-19), her shares are worth around $5.3bn, and the financial press have speculated she was the family member who, in February, sold a 2.5 percent stake, though the company refused to confirm. Reflecting, perhaps, on the future of artists and the increasingly dematerialised art they make, Hoffmann’s LUMA has backed Arcual, a ‘blockchain ecosystem built by the art community, for the art community’, a venture in partnership with Art Basel.