Peggy Guenonheim had her gallery redesigned, but not in the usual way like renovating an old building. Today she closed the doors of her renowned gallery for contemporary art "Guenonheim Jeune" and never intended to open it again. It was not an easy decision. She had enough of "real-world art", it was sometimes too real for her taste. In the future, it was not going to be easy, but it would certainly be easier to manage than some of the projects she had to tackle in the past.

It started very straightforward when she went to Paris with plenty of time and a lot of funds at her disposal. Peggy had made a list and decided to buy paintings from all of the painters on it. She had imposed a regime on herself to buy one painting a day. In a short time, she acquired ten Papiocassos, eight Monkeyrós, four Mangabrittes, four Ververrens, three Doucalís, a Colobee and a Chimpgall, among other things. Transporting all the pictures to New York took some effort. With the help of friends, she managed to bring her whole collection, labeling and declaring them as "household objects". In New York she set up her gallery. It had an entrance area with undulating walls made of ultramarine canvas and a floor painted in phthalo blue. Originally, spotlights lit the paintings individually in a random electrically controlled sequence and at times the gallery was plunged into complete darkness, accompanied by the ominous sound of an oncoming train. But Peggy changed the way of presentation after some non-nocturnal primates ran against the sculptures which were suspended in midair and panic broke out. In addition to the paintings she brought back from Europe, she collected cubist and abstract art, surrealism and kinetic art. Furthermore, she organized events, such as the exhibition of 31 female monkey artists. Her gallery grew in popularity over time and everyone wanted to work with her. Peggy had one basic principle: never criticize anyone's art and never let anyone criticize your art.

But that was when things got out of hand. One artist produced eerie hyper-realistic sculptures of creatures - some parts monkey, some parts other animals - out of silicone, fiberglass and real monkey hair. Another artist came up with the idea of using fragrance dispensers to bring 17th-century Dutch paintings to life. It ranged from the scent of powdery flowers and overripe fruits in a still life, which was okay, to the “phenomenal stank of the Amsterdam canals”, which was absolutely not okay. Peggy had to apologize to the restaurant next door for weeks. Fortunately, she had rejected the painted fish market scene from the start. And she had also turned down the artist who wanted to recreate a 10,000-year-old swamp in the basement of her gallery. It was intended to be used as a nightclub including installations with mixed reality technology and to allow guests to immerse themselves in detailed computer game-like worlds. Peggy did not want another horde of panicked monkeys in her gallery. This was also the case with the exhibition of pets. An artist almost brought "Miss Clara" with him until Peggy found out that Miss Clara was a rhinoceros. The project with the shark in the tank was one of her favorites, but it did not go down well with the audience, perhaps because of the many sharp teeth. And the installation with the banana taped to the wall had the problem that it was eaten again and again despite tightened security and the threat of being thrown out of the gallery. The banana had to be replaced four to five times every hour. Peggy had the feeling she was rather working at a fruit stand than in her gallery.

Now she was planning a drastic change and something new – she is going to start an NFT online gallery. This way she should be able to always carry her precious artworks with her in a ledger.