The attraction to female artists was perhaps driven by Kulczyk’s acute awareness of how she was perceived as a woman in the largely male corporate world, especially throughout the 1970s, ’80s, and ’90s, when she worked with her then-husband. “Regardless of the role I actually played in the different businesses, the person who was incessantly perceived as the boss was my husband, and I was usually in the back row as a good support, but still in the back row,” Kulczyk said. Or, she would be the “only woman in a boys’ club,” she recalled, citing a bicycle business she ran in Asia, where she exclusively faced men in her dealings.