Digital Scarcity Is Back — Just Not Where You Were Looking
The edition is the oldest trick in the art market. New platforms have quietly figured out how to make it work online. That’s the real digital thesis.
The edition is the oldest trick in the art market. New platforms have quietly figured out how to make it work online. That’s the real digital thesis.
Between museum shows, Venice representation, and a steady secondary tape, Mark Bradford has moved from ‘up-and-comer’ to ‘portfolio line item.’
Single-owner estate sales are producing most of the flagship numbers at evening sales — and creating an artificial scarcity that distorts what ‘normal’ looks like.
Art-backed loans have gone mainstream. Most first-time borrowers don’t understand what they’ve given up. We walk through the terms that matter.
Acquisition budgets are flat, fundraising is soft, and deaccession pressure is rising. Institutions are about to stop being the buyer of last resort.
Mehretu has museum reach very few living artists can match. But her secondary depth doesn’t match her institutional footprint. That gap matters.
The numbers auction houses post don’t include their private sales desks — and those desks are now doing more volume than the rooms they used to feed.
It’s also slow, political, and increasingly contested. Here’s how to use one, how to read one, and what it actually guarantees.
The number of artists capable of producing a $100 million lot is stuck at roughly twenty. It’s getting harder to get on the list and easier to fall off.
A disciplined look at Peter Doig’s auction record, why his best years were 2007 and 2017, and what a realistic hold period on a Doig looks like in 2026.