Alumni Spotlight: Julie Belfer Sarian ’97, Founder of Arte Contemporânea Vírgula

 Available in Audio:

“If there’s no space for it, you make it.” For Julie Belfer Sarian, that philosophy has shaped both her career and the way she approaches the world.

A Graded student from third grade through graduation, Julie credits the school with teaching her to think independently, question assumptions, and create her own path. She went on to study at the School of the Museum of Fine Arts at Tufts, which she describes as another formative chapter in becoming the free thinker she is today.

Since then, Julie’s career has spanned contemporary art, business, media, and entrepreneurship, with roles at the Museu de Arte Moderna de São Paulo (MAM-SP), Itaú, and Jovem Pan. Twelve years ago, she founded Arte Contemporânea Vírgula, creating her own space to connect artists, collectors, and art enthusiasts.

In this “Alumni Spotlight,” Julie reflects on the education and experiences that shaped her, the value of embracing unexpected opportunities, and why, when you can’t find the space you need, the best thing to do is create it yourself.
 

You have worked across the arts and business fields for years. Where did that passion come from?

I think it comes from the Graded way of thinking. From an early age, Graded encouraged me to be truthful with myself, question things, and, most importantly, think for myself. I wanted to build my own path, and Graded always supported that. It gave me the confidence to make my own choices rather than simply follow a predetermined path.

I’ve had my own art business for the last 12 years, and I think that is very Graded. Not necessarily because of my art teachers, but because I learned to embrace different sides of myself and make them work together. I never felt forced to choose between being creative and being business-minded. I learned that you can have these different interests and abilities and make them work in your favor. That flexibility is a very Graded way of thinking.

I remember having opportunities to make choices from a young age. In fifth grade, for example, we could choose which type of math we wanted to study with Mr. Riley. In eighth and ninth grade, we could choose which history subject we wanted to explore: India or China. We were constantly making decisions about our own education. At the time, they might have seemed like small choices, but looking back, they taught us to take ownership of our learning, understand what interested us, and make our own decisions. That prepared us for the future in a very real way.

So I always say that those who raised me were my parents, Graded, and the School of the Museum of Fine Arts.
 

What experiences at Graded helped shape the way you approach opportunities today?

Being true to yourself and making that work—and if there’s no space for it, you make it. That mindset really started at Graded.

There was an openness at Graded to create things beyond what was assigned in the classroom. We could start student-led clubs and were given the freedom to turn our ideas into reality. I’m not sure how many schools allow that, but those experiences taught us that if you saw an opportunity, you didn’t have to wait for someone else to create it for you.

My favorite experience was being class president. At the time, the senior class ran the snack bar, while the juniors ran the ice cream bar. The juniors used the bar funds to pay for the seniors’ prom, and the seniors raised money for their own class trip. As seniors, we decided where our class trip would be, made the plans, figured out how to pay for it, and took responsibility for making everything happen. We also organized smaller things, like T-shirt printing. It sounds simple, but those experiences gave us a real sense of responsibility and ownership. We weren’t just participating in school life—we were actually helping shape it. We had to make decisions, collaborate, solve problems, and turn ideas into action.

That sense of agency has stayed with me. When you grow up being trusted to make choices and take responsibility for the outcomes, you become more comfortable creating your own opportunities later in life.

I also really value the education and the teachers at Graded. The quality of instruction was incredible, and that’s what I remember most. We were taught how to think. The classes, the electives, and the choices we were allowed to make all encouraged us to be curious, independent, and thoughtful. I think that’s a big deal, and it has stayed with me ever since.
 

When did you realize that you wanted to pursue a career in the arts?

I always knew I would go into the humanities. My mom is an artist as well, although she doesn’t paint anymore, so that influence came from home, too.

Being allowed to think freely at Graded also helped me find my path. I went to advertising school for a year and a half before changing direction. During my sophomore year, I had a big moment of clarity when I realized it wasn’t the right path for me.

I then transferred to the School of the Museum of Fine Arts, which was the perfect match. Just as Graded was the perfect school, the Museum School was the perfect university. It operated on a similar philosophy: a free-thinking, do-it-yourself kind of place, focused on what you choose to make of it. Both institutions offered a lot of resources, but you had to take the initiative to pursue them. It was all about personal growth and deciding where you wanted to get to.
 

Your first job was at IKEA in Greece. What was that experience like?

When I lived in Athens, I worked at IKEA as a visual merchandiser, which is a very creative job. It involved a lot of hands-on projects—putting furniture together and painting things from 12 meters up on a ladder. It also required collaboration with the sales department, as I helped sell what they ordered. It was really fun.

Sometimes I was tasked with designing the storefront, which was awesome. The process started with drawing the shop-window concept, getting it approved, and then actually executing it: bringing in all the furniture, painting and writing on the walls, and drilling fixtures into place. I loved it. I actually still make my own furniture because of that experience.
 

When you returned to São Paulo, you joined the Museu de Arte Moderna de São Paulo (MAM-SP). What did you do there, and what did you learn?

When I moved back to Brazil, I started working at MAM-SP right away and immediately connected with the people and the culture.

I quickly realized how much I enjoy working, doing things, and staying active. I started out in the art education department, and when an opening came up at the members’ activity center, I transitioned into that role and continued to grow.

Growing sideways is just as valuable as moving up. Working in different areas within the same museum also promotes growth. I didn’t dislike where I was, but if I were offered a new position, why wouldn’t I take it?

I also worked in international affairs, which gave me unique opportunities, like giving a guided tour to Mikhail Baryshnikov, leading a private collection tour for Mr. Rockefeller, and hosting international curators like Luis Perez Oramas and Yuko Hasegawa.

I took the initiative to step into areas I hadn’t imagined. When we weren’t hosting these VIP guests, I was always looking for more to do. I talked to the museum’s president at the time, and when he asked me what I wanted to do, I jokingly said, “Give me the Business Department.” I have no clue why I said that, but I asked, “If I take it on and I need help, will you answer my questions?” He said, “Yes.” So I took the position.

I inherited a lot of my dad’s and brother’s business mindsets. My dad is a doctor, but he owns his own practice and thinks very entrepreneurially, while my brother used to be the CEO of a bank. Business is in our blood. That’s why I kept adapting. If an opportunity presented itself, I took it.
 

Your career has taken you from museums to banking to radio. How have you brought your creativity into such different environments?

Coordinating all these programs at the museum was awesome, though mostly administrative. When Itaú invited me to join its innovation department, I took the opportunity.

Our goal, which I say jokingly, was to get all 45,000 employees to think differently. That was not an easy task, especially at the time. I brought in creative ideas and different ways of doing things. For instance, in 2011, I brought chef Henrique Fogaça, who would later become a MasterChef Brasil judge, to Itaú’s cafeteria. He trained the cooks, and together we prepared specific dishes that were served to employees at an accessible price.

Later, I hosted a three-year bulletin on Jovem Pan radio. It was a one-minute segment that aired three times a day. While it was very news-focused, I had the freedom to bring my own voice and humor to the content. I often covered art news, including upcoming exhibitions and which local and international artists to watch, and offered my own commentary. For example, when the Pinacoteca announced it was changing its logo and shortening its name to “Pina,” I thought it felt overtly friendly for such a historic institution—like giving itself a nickname.

You’ve built a career around creating opportunities for connection. How did that idea shape Arte Contemporânea Vírgula?

When I left the museum and the bank, I spoke with several museum directors at the time and asked, “So what do I do?” They told me, “Well, if you wanted to leave originally, you’re probably not going to want to come back, because it’s the same kind of institution.”

I realized they were right. I have a different way of working. I like to grow, take on new challenges, and keep moving. I knew I wouldn’t be happy going back to a traditional museum structure.

So I thought, “Okay, then what?” And I started this business 12 years ago because there was no space for me. It’s funny because it goes back to Graded and to the Museum School. As I said before, if there’s no space for you, you make it. And that’s exactly what I did.

I often say that what we do at Arte Contemporânea Vírgula falls into two categories: a bridge or Google Maps/Waze. The bridge gives you access to things you normally wouldn’t have access to. I take clients to private collections, where we talk with collectors about why they purchased particular works. We visit collections and artists’ studios, including those of some of the biggest names in the art world today—places and conversations that are ultimately difficult to access. And we do all of this in very small groups, which I also think is very Graded and very Museum School. It’s about connecting. It’s about being present, listening, being heard, and meeting people.

The Google Maps part is more like mentorship for both collectors and artists. For collectors, it means giving them advice on what to buy, providing insight into things they might not know they would like, discussing their budget, meeting artists, and so on. For artists, it’s about guidance: What choices are you making? Where do you want to go? Does the path you’re on actually make sense, or do you need to change directions?

We also offer year-long art courses with an application process and host events open to anyone interested. At its core, Arte Contemporânea Vírgula truly is a space for sharing ideas and connecting.


What keeps you excited about working in the arts, and what advice would you give to a student who wants to pursue a career in the field?

I love being surprised by art. I like breaking expectations. I like the new. I like not being comfortable and learning about challenging ideas.

As for advice, you have to be authentic. You have to be true to yourself. You have to be who you are. And then, when you get there, you have to scream. You have to make yourself heard. And you have to be patient.

If you are yourself and do it loudly, the right people will eventually show up.