The pharmaceutical billionaire’s LUMA Foundation continues to flex the square meterage of its Arles headquarters, hosting several shows simultaneously throughout the year. Tino Sehgal had his pick of Hoffmann’s collection, as well as that of Basel’s Fondation Beyeler, to hang group-show The Lateness of the Hour, while across the former railroad site Koo Jeong A amassed her sculptures, olfactory installation and phosphorescent paintings, alongside concurrent shows for super hot artists-turned-curators Ho Tzu Nyen and Wael Shawky. The highlight, however, was a survey of the late photographer David Armstrong and his melancholic vision of the twentieth century’s underbelly. Arles has space too for copious education and residency programmes, the kind of democratisation harder to achieve for Hoffmann’s Elevation 1049, an art festival in the fancy ski resort town Gstaad, this year curated by Swiss Institute’s Stefanie Hessler. Hoffmann is president of Hessler’s New York nonprofit, just one of many boards to which she lends her support (among them Kunsthalle Zürich, London’s Serpentine Galleries and CCS Bard in New York).