At the heart of the residence? A dramatic gallery corridor designed specifically for Miller’s collection. “These walls all have plywood behind them so you can hang heavier pieces,” he says. Works by notable names such as Titus Kaphar and Carmen Neely appear alongside sculptures by Richard Hunt and Barkley L. Hendricks. But they aren’t static. Pieces rotate frequently as Miller lends to museums around the world; most recently, a Kerry James Marshall painting from the collection was on view at a major exhibition of the artist’s work at the Royal Academy of Arts in London.
Miller’s approach to collecting is very much one of stewardship. A well-known champion of Black artists, he also possesses a judicious eye for emerging talent. “It always starts with pieces I love,” he emphasizes. “The first time I saw a Norman Lewis abstract, I didn’t know whether he was Black or white. I just thought it was a beautiful painting that spoke to me. But I did feel there was a need for many artists to be recognized, talked about, and shown. And I’m happy for any small part I might have played in bringing more of them into the mainstream.”
Rather than treating the art as decoration, Miller sees himself as a caretaker of the work—and that perspective shaped how the home was designed. When Lucas Interior joined the project, the team focused less on decoration and more on subtle interventions that enhanced day-to-day living without compromising on the home’s minimalist ethos. Furnishings are sparse but intentional. Many pieces, including a Swedish flatweave rug from the early 20th century and a sculptural desk in his office, came from Miller’s previous residences. “I was given not only the best architecture, but I had a client that had so many beautiful pieces,” says Suzie Lucas, the studio’s principal and interior design director.