This evolution has formed a collection that is immensely personal. "The art changes with the light of the day," says Susan. "We both have our offices in the house, so we have plenty of time to enjoy it."

The living room, which looks out over a stately, tree-filled garden, has as a focal point a large C-print mounted on Plexiglas by Thomas Struth titled "Pergamon II Berlin" (2001). An untitled work in welded steel, canvas and wire (1962) by Lee Bontecou leads to the dining room, and Juan Muñoz’s "Single Figure NM" (1995), a bronze wall sculpture with green-gray patina depicting a female figure bent over, her head covered with fabric, is near the front door. "He passed away a few years ago," says Leonard of Muñoz. "He was a great artist."

On the dark-wood living room floor is "Dynamo" (2004), a black plank in polyester resin, fiberglass and plywood work by John McCracken. "The Sacrifice" (2005), a brightly beaded sculpture of a crying baby by Liza Lou, is positioned on the floor with feet and hands up. "That’s pretty much the way she wants it, on the floor, unattended," Leonard explains. An untitled sculpture made of paper (2007) by Tom Kovachevich leans against one wall. "It changes shape depending on humidity. Right now it’s very dry, and it curls up. In the warmer months it flattens out," says Leonard.

While the exterior near the family room takes minimalism outside with its Zen garden of pebbles and large boulders, the art in the family room is more stimulating: A 60-inch by 50-inch surreal digital C-print, "Untitled (Ophelia)" (2000), by Gregory Crewdson is on one wall, and a Mike Kelley black-and-white acrylic on paper work called "Empathy Diplacement: Humanoid Morphology, Number 10" (1990) and five small, various-sized (ranging from 4 inches to 10 inches) sculptures of women titled "Bad Habits" (1996) by Lisa Yuskavage, are in the bookshelf. Susan laughingly refers to these as the "Five Bitches"—fitting for their smug, know-it-all looks.

The works that the Nimoys have picked for their bedroom are more restful. A large (29" x 40") Ed Ruscha drawing on paper, "Anywhere," hangs over the bed, while a graphite-on-paper "Ocean Landscape" by Vija Celmins hangs to the right. Celmins’ works were featured in a major 2007 exhibit at Los Angeles’ Hammer Museum, where Susan is on the board of overseers.

On the other side of the bed is a large (48" x 40") black-and-white photograph of a nude from 1999 taken by Leonard. "The model is a ballet dancer and teacher," he says. "She lives in New York and the photograph was done there. I love the picture because she is so unposed and undirected. It’s a casual human moment."

It isn’t just by purchasing works that the Nimoys express their art ardor. In 2003 they established the Nimoy Foundation, which recognizes, encourages and supports artist-in-residence programs. Since its inception, the foundation has distributed more than $1.7 million. "We have a select number of leading arts organizations that choose the artists," Susan says. "The first time we meet them is when we have them over to the house for a congratulatory dinner."

Although the Nimoys love contemporary art, they agree that some of it is difficult to understand and appreciate. "You have to read and ask questions," Susan explains. "After you know a bit about the artist and the period he or she was working in, the works unfold. The best work, however, always remains a mystery."

Art&Antiques Los Angeles correspondent Kathy Bryant is the former art critic for the
Orange County Register and has written on antiques for The Los Angeles Times.