Pietro Spartà藝廊是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。

They chose the second floor of the Moore Building where they hosted an exhibition of 26 Miami artists, curated by Dominic Molon, who, at the time, was a curator at MOCA Chicago. ‘We were able to keep it open as a kunsthalle for eight years,’ she says. ‘This effort helped us connect Miami to the international art scene.’

In 2009, Carlos, who is the chairman of CC1 Companies, a Coca-Cola bottler in Puerto Rico and the Caribbean, and Rosa, who is the company’s director and treasurer, took another giant step, opening the 30,000-square-foot de la Cruz Collection in Miami Design District. There is almost no way to count the seemingly infinite number of works within, but every time visitors step inside, they are guaranteed a fresh spectacle. The space has presented some of the couple’s significant Art Basel Miami Beach purchases over the years, including Ugo Rondinone’s Clockwork for Oracles II, a monumental installation composed of 52 mirrored windows, and Rob Pruitt’s Us, with its 127 panels of scribbled faces on prismatic panels.

Spartà在法國沙尼（Chagny）的工人階級環境中成長，但他發現圍繞他成長的那些典型職業 —— 例如農業和工廠職業 —— 並不適合他。「我希望能有一些改變 —— 徹底的改變。雖然我愛我的家人，但我不想和他們一樣。」他說道。可是他也不想離開這裡。這位藝廊主的家鄉沒有文化氛圍 —— 他坦然承認這一切 —— 除了一家米其林星級餐廳。 Spartà自學成才，他通過書籍發現了藝術，並對彼特蒙德里安（Piet Mondrian）和卡濟米爾馬列維奇（Kazimir Malevich）產生了特別的興趣。在書中，他瞭解到貧窮藝術（Arte Povera）、極簡主義（Minimalism）和觀念藝術家，並希望有朝一日可以與書中所記載的令人讚歎的藝術家們見面。他說：「我一定要在他們離世前見到他們。」他覺得自己的這種迫切期望很好笑。但對此的堅持卻十分真誠。「我想知道他們做了什麼，他們如何生活 —— 作為一名藝術家是什麼樣子。」