Phillips prized individuals over movements. He chose to hang work by Europeans and Americans side by side, sensing dialogues that transcended borders. He saw art as a continuum, and arranged his collection accordingly. For example, a room dedicated mostly to still-life paintings includes Paul Cezanne's sumptuous “Ginger Pot with Pomegranate and Pears” (1890-1893), Georges Braque's cubist “Lemons and Napkin Ring” (1928) and Jean-Siméon Chardin's luminescent “A Bowl of Plums” (c.1728). Phillips let viewers appreciate each painting as a unique product of an artist's vision, rather than as a mere cog placed in the unwieldy and contrived structure of canonised art. In this way, he strived to “show the universality of art.”

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