The vessel collection particularly showcases diverse approaches to fragility, from Maggie Pei’s amphora that pairs carved wood with glazed porcelain to Samuel Aguirre’s hemp and cotton fiber constructions that rethink traditional papermaking. Lisa Sacco’s blown glass vessel creates striking visual tension by resting atop broken shards, while Monica Curiel transforms construction materials like spackling paste into sculptural forms that honor the labor of immigrant communities. These pieces represent just a fraction of the thoughtful work on display, all unified by artists who pushed themselves beyond their comfort zones to explore what fragility means through their chosen materials.

The Object Boutique captures what we love about Collectible and design as a whole: the opportunity for artists to take control of their own narratives while fostering genuine community. This kind of grassroots organizing proves that emerging designers don’t need permission to create the platforms they want to see. As Yuxuan and Mimi shared with us, their goal was to help friends in their close-knit community while demonstrating that emerging artists don’t necessarily need gallery representation to present work on an international stage. Read our full conversation with them below to discover what it really takes to mount an artist-led exhibition at one of the design world’s most important fairs.

You both met at Collectible a year ago and quickly decided to co-curate an exhibition together. What was it about that initial encounter that made you realize you shared a vision, and how did the concept for The Object Boutique emerge from those early conversations?

After last year’s Collectible in New York, we reconnected in November and began discussing the idea of organizing a group show and returning for the 2025 edition. We both recognized the importance of accessing a large international platform and maintaining consistent exposure, especially for emerging and early-career artists and designers. A group exhibition also made sense economically, as it allowed us to share costs while building a stronger collective presence.

The Object Boutique is shaped by our shared focus on craft and materiality in design. Every participant cares deeply about the making process and the expressive potential of materials, and this common thread became the foundation of the exhibition.

One year later, what made Collectible the right moment and venue for your first curatorial project?

Since this was our first curatorial project, feeling comfortable within the community was crucial. Knowing we would be supported by the platform gave us the confidence to take on something as ambitious as organizing this show. We both had a great experience last year at the fair, we appreciated how supportive the Collectible team was toward emerging artists. The connections we made with fellow exhibitors also proved invaluable. In addition, Collectible is a platform dedicated to collectible, one-of-a-kind, hand-made objects — a vision that resonates deeply with everyone’s practice.

The exhibition centers around the question “What does fragility mean to you?” which prompted responses ranging from traditional rock carving to experimental work with salvaged materials. How did you approach selecting the fifteen artists, and what surprised you most about how different designers interpreted this theme?

We invited artists who share a grounded energy in their craft practice, people who are both skilled and intentional with their processes. At the same time, we were drawn to those who approach their medium in a playful and experimental way, the kind that makes us constantly think, “How did they come up with that?” For example, Haoying Zhang works with the delicate skins of gourds, while Kewei Zhao applies hand-sewn wood veneer on furniture.

What surprised us most was how each participant pushed themselves out of their comfort zone. Rather than relying on their usual methods, they really challenged the theme of fragility by testing the limits of their materials, which led to incredibly diverse and innovative results.

Organizing your first major exhibition while managing fifteen different artists across North America sounds like a significant logistical challenge. What were the most unexpected difficulties you encountered during the curatorial process, and what did you learn about bringing together diverse practices under one vision?

To our surprise, there weren’t many unexpected difficulties. From the beginning, we were very clear about our individual strengths and divided roles, and our communication was very efficient. The participating designers and artists were also extremely cooperative and placed a lot of trust in us throughout the process. Many offered advice and support along the way, which we deeply appreciated.

What we learned is that in order to bring diverse practices together under one vision, a clear theme and concise guidelines are essential. For instance, asking for small-to-medium-sized vessels responding to the theme of fragility gave everyone a framework to work within, while still leaving space for individual expression.

You’ve structured the exhibition as a “boutique-like environment” that invites slow looking and spatial awareness rather than a traditional gallery presentation. How does this approach reflect your philosophy about how people should encounter craft and design objects?

The inspiration came from the experience of shopping in a boutique, which is very different from viewing objects online. In person, all five senses come into play — you notice other details such as textures, and the physical presence of the work in a way that photographs can never capture.

By creating this boutique-like environment, we hope the audience slows down, takes time to browse, and develops a heightened awareness of the craftsmanship in each piece. It’s about encouraging an intimate encounter with objects rather than rushing through them.

As emerging artists yourselves organizing a designer-led exhibition, what does it mean to you to create these pathways into the exhibition world for other independent voices? How do you hope The Object Boutique influences how emerging designers think about presenting their work?

For us, creating these pathways feels like helping our friends. It’s a close-knit community where we work professionally but also support each other on a personal level. Facing challenges together and building something new has been exciting and inspiring not just for the participants, but for us as well.

We also hope The Object Boutique demonstrates that emerging artists don’t necessarily need gallery representation to present their work on an international stage. There are alternative ways to self-organize, collaborate, to create visibility. And we hope this project inspires others to take initiative and carve out their own opportunities.

Photography by Matthew Gordon.