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Horten's art collection is an astonishing array of expensive artworks, a line-up of all the "big" names in modern art, but her approach is very safe and generic – pretty much in line with that of her main advisor Agnes Husslein who in her years as director of the Belvedere museum in Vienna constantly failed to produce any sort of unconventional take on what is basically an interesting if over-exposed collection and ultimately only relied on reproducing the well-known boring clichés about art, fin de siècle and Vienna.

There are some interesting and beautiful, even some important works in Horten's collection, but they don't "speak" to each other, there's no vibe, no interaction, no recognizable collector's profile, no special interest discernable other than to compile expensive artefacts. With a Horten museum planned in Vienna I certainly wouldn't want public money to be spent on what is basically a show-off of personal wealth. She obviously has the means to buy expensive art and she might be successful in acquiring artworks in demand – but a great collector she ain't!

Judging from the limited photographic evidence – she's well known for protecting her privacy and not prone to find herself exposed in tabloids – she enjoys wearing jewellery. That's certainly fine. Her buying decisions regarding jewellery might be more personal than with fine arts, but with jewellery again she fails to correlate pieces to each other: The pearl earrings with their frame of modern cut diamonds worn in Klagenfurt yesterday are a cruel addition to the delicate diamond bow from which the pearl drop is suspended, as is the carved emerald in its anything but subtle setting (and don't get me started about her choice to wear that fire engine red outfit with its huge buttons as a resting place for this breathtaking pearl!). Alas, style is something money can't buy, and while I'm happy for her to be enjoying her jewellery, I can't help but hearing the pearl scream for help.