The most common mistake that Berkus notices when people frame their art is thinking that everything has to match. “I prefer mixing and matching,” he says. In order to achieve a coherent result, he recommends keeping the language of the frames similar: “In my personal home, a 16th-century Saint Peter in an original Peruvian wood frame is opposite two Günther Förg black-and-white lithographs in wood gallery frames. There simply are no rules.”

When dealing with a large blank wall, it can be tempting to go for a gallery wall—smaller frames are less expensive after all—but Berkus suggests that it’s entirely situational and that people shouldn’t shy away from large-scale art: “A gallery wall is more personal and allows a greater opportunity to tell the story,” he says. “Large-scale art, when well chosen, can be a fantastic investment. It can create a constant focal point for a room and can be moved around to different spaces as you move.”

We all have space we default to when hanging art: behind the bed, behind the sofa, above the mantel. Berkus prefers to focus on unexpected places to hang his art. “Hanging things in your home is a deeply personal exercise, almost as personal as what color to paint the walls,” he says. “I’ve always loved the impact of hanging something unexpected in places that are often overlooked. I’ve always been more comfortable having less, and better things than more. Some of his favorite places to hang art include powder rooms, the end of a long hallway, the inside of a stairwell, or the wall at the top or bottom of a stairwell: “It’s the idea of turning a corner and seeing something unexpected.”