‘We want to be as precise as possible,’ Sprüth told The New York Times Style Magazine last December. ‘We don’t want to be the biggest supermarket of art.’ It is the consistency of the duo’s artistic vision that has made their gallery – with spaces in Berlin, London, New York and Los Angeles – so economically resilient and culturally iconic. Programming this past year was reflective of their commitment to conceptual work by women and tracing artistic lineages across generations: the legacy of cult artists from the Pictures Generation, which the gallery started representing in the 1980s, including Barbara Kruger (whose showing at the London space coincided with the Serpentine stop of a major touring retrospective) and new-media pioneer Gretchen Bender (presented in LA), was echoed in the work of millennial artist Nora Turato (shown in LA) and Cao Fei (who had major institutional shows in Munich, Savannah and Shanghai). In May the gallery snapped up Mire Lee ahead of the opening of her haunting Tate Turbine Hall commission.