For me, these six pieces are the most desirable contemporary artworks among many great pieces on offer at

Especially in home surroundings that are simple and uncluttered, I think the art should stand out distinctly, and occupy space as a uniquely beautiful feature – whether adorning my living space, such as Fiona Rae’s painting-like, dynamic print in bright color, or Yinka Shonibare’s gorgeous asymmetrical plate, or as wearable art, such as Marc Quinn’s positively volcanic, fiery red scarf.

Each of these works displays an all-over intensity that creates a powerful visual statement – whether Keith Coventry’s bold black-and-white tile-like pattern, or Rachel Howard’s darkly mysterious purple ‘curtain’ Porphura. The whole selection, I realize, is sensually abstract – except Thomas Hoepker’s irresistible photo of the charismatic Muhammad ALI. The unusual perspective of this portrait, taken from below and from an intensely close distance, feels as if it were somehow snapped from inside the boxer’s chest – literally, ‘from the heart’.

Gilda WilliamsGilda Williams (b. New York) is a contemporary art critic, curator and editor. Since 2005 she has been a correspondent of Artforum in London. From 1994-2005 she was Editor and (from 1997) Commissioning Editor for Contemporary Art at Phaidon Press, where she edited 45 monographs in their Contemporary Artists series. Each book was conceived and put together as a specially curated project, working in collaboration with the artist, authors and designer to represent each artist’s practice in book format. Artists with whom she has produced books include Vito Acconci, Francis Alys, Louise Bourgeois, Maurizio Cattelan, Tacita Dean, Isa Genzken, Dan Graham, Thomas Hirschhorn, Jenny Holzer, On Kawara, Mary Kelly, Mike Kelley, Christian Marclay, Paul McCarthy, Cildo Meireles, Pipilotti Rist, Doris Salcedo, Lorna Simpson, Jeff Wall, Lawrence Weiner, Franz West, and many others. Since 1998, She has conceived and commissioned Phaidon’s “Cream” series of “Biennials-in-a book” (Cream, Fresh Cream, and Cream3). She has edited the ‘Themes and Movements’ anthologies, among them Land and Environmental Art, The Artist’s Body, Conceptual Art, Arte Povera, and Minimalism.
From 1996 she has been a regular contributor to Art Monthly magazine and a film critic for Sight and Sound 2000-2009. ‘Strange Days: Contemporary British Photography’ and ‘London Orphan Asylum’ are just two of the exhibitions that she has curated. Prior to moving to London in 1994 Gilda was Managing Editor at Flash Art International, where she worked from 1989 to 1994.

 Above: Fiona Rae, We Are All Fuzzy Robots