Lio Malca is a New York-based art collector, gallerist, and hotelier known for his bold approach to contemporary art. Since the 1990s, he has championed artists who push boundaries, building a collection that includes key works by Jean-Michel Basquiat, Keith Haring, Kenny Scharf, and George Condo. Over the years, his focus has expanded globally, incorporating contemporary Asian, Latin American, and digital artists.

Beyond collecting, Lio is dedicated to creating spaces that bring art to the public. He transformed Casa Malca in Tulum into a boutique hotel showcasing his collection, established Fundación La Nave Salinas art foundation in Ibiza, started The Art Lodge, a fine art residency based out of the Sian Ka’an Biosphere Reserve, and most recently launched 60 White, a multidisciplinary art space in Tribeca New York, where monumental works by Kenny Scharf are currently on view through the end of March.

This summer marks a decade of yearly institutional exhibitions at Fundación La Nave Salina, Ibiza. Malca will be showcasing two back-to-back solo presentations by artists Spencer Lewis and Pedro Pedro—offering visitors an unparalleled opportunity to engage with their compelling artistic narratives. Through these initiatives, he continues to shape the conversation around contemporary art and its accessibility.

Your collection spans multiple movements and mediums. What draws you to an artwork beyond market trends?

For me, collecting has never been about following market trends—it's about a visceral connection. I am drawn to works that challenge conventions, evoke deep emotions, and offer unique perspectives on the world. Throughout my career, I have championed artists who break barriers, whether through their technique, subject matter, or philosophy. Art is at its most powerful when it disrupts, provokes thought, and invites engagement. That is what I look for in every piece I collect.

You’ve turned private collections into immersive spaces, from Casa Malca to your new project 60 White in Tribeca. What role do these different spaces play in your vision for art and how it is received?

Creating spaces for art is just as important as collecting it. I believe art should not exist solely within the walls of institutions or private collections—it should be experienced, felt, and lived. Casa Malca was an opportunity to merge art with hospitality, allowing guests to immerse themselves in a curated experience. Ibiza, with Fundación La Nave Salinas, serves as a place for deeper engagement with contemporary artists. Now, with 60 White in Tribeca, I wanted to create a space where large-scale, multidisciplinary works could come to life in the heart of New York City. Each space has a unique energy, but they all share the same goal: to make art more accessible and impactful.

Your new Tribeca space has on view Kenny Scharf: Space Travel. What inspired you to dedicate this exhibition to his work?'

Kenny Scharf’s work has always embodied a sense of wonder, optimism, and boundless creativity. His connection to pop culture, street art, and surrealist imagery makes his work incredibly dynamic and relevant today.—I see 60 White as a platform for immersive, larger-than-life artistic expressions. Space Travel captures that energy perfectly, inviting viewers into Scharf’s vibrant, otherworldly universe. It was the idea revolving in my mind for many years but now it came to fruition the minute I saw the space, which I had already established in my mind its identity as a destination for ambitious, historical transformative exhibitions.

You were ahead of the curve in collecting Basquiat and Haring. Are there artists today you see following a similar trajectory?

Basquiat and Haring were pioneers who redefined the boundaries between street culture, fine art, and social commentary. Today, I see a similar raw energy in artists who merge personal narratives with ancient history like Eva Beresin, Rafa Macarron, Mai Blanco. And then AI, man- or machine-made sci-fi programming that allows and actually invites the audience to participate like artists Sam Spratt with his creations but especially “Luci" that are pushing the limits of how art is created and consumed. I am always looking for artists who bring a fresh, fearless perspective to contemporary art.

With your collection expanding into new regions, how do you approach discovering emerging artists?

My approach is deeply intuitive but also grounded in extensive research and engagement. I travel often, visit artist studios, and work closely with curators and fellow collectors to uncover new talent. Art fairs, biennials, residencies and Instagram provide insights into emerging trends. I have always been interested and attracted to artists who are creating outside the traditional frameworks—those who challenge narratives and introduce new visual esthetics and languages without any regional boundaries or having any recognition in the contemporary art scenes.

Technology is reshaping contemporary art. How do you see digital and AI-driven works fitting into the future of collecting?

Digital and AI-driven art are not just trends—they represent an evolution in how we create, experience, and collect art. The expansion of digital platforms, blockchain technology, and AI tools is redefining artistic authorship and accessibility. While traditional collecting will always have its place, I see a future where digital works coexist with physical pieces, offering new forms of interaction. I am particularly interested in how AI can serve as a tool for creative collaboration rather than a replacement for human expression. The challenge and opportunity lie in integrating these new mediums in ways that preserve the integrity of artistic vision while embracing technological progress.

Your collection has evolved significantly over the decades. Looking ahead, where do you see it going next?

My collection has always been a reflection of my evolving passion and perspective in contemporary art. Looking ahead, I see it expanding further into potentially new media. I am interested and curious in how technology is shaping artistic expression, from generative AI to blockchain-backed art, and how these new tools allow artists to push creative boundaries. At the same time, I remain fully committed to supporting traditional painting, sculpture, and immersive installations. Ultimately, the future of my collection is about maintaining a dialogue between the past, present, and future of art, embracing both its physical and digital evolution.

If you had to choose just one artwork from your collection to live with for a year, which would it be and why?

If I had to choose just one artwork only, it would be a Jean-Michel Basquiat piece. Basquiat was the ignition of my flame in the art world. His work is raw, powerful, and endlessly thought-provoking—it reveals something new every time you engage with it. Basquiat had a way of layering history, personal narrative, and social commentary in a way that remains profoundly relevant. I have always had one near me since 1992. Living with one of his works is like having an ongoing conversation with Basquiat who continues to influence contemporary culture and challenge perceptions of art and identity. His ability to bridge high and low art, text and image remains timeless, deeply inspiring and incredibly current for all age levels.