Anne Bogel

It's like what they mean to her.

And my favorite parts of the book were when she gets pulled into conversations with people who know the art world.

And she just really quickly like says what she thinks and why she likes some things, but thinks others are overrated.

And she's like,

oh, those multi-million dollar rainbow dots, like they just look good with people's sofas.

Like that's the only reason that that's popular.

You want to see some good dots.

How about check out this artist or this artist or this artist?

And Christine, I think maybe the highest recommendation I can give to you for this one after I think you may really feel a kinship with the protagonist is my search history was so delightfully full of

Richard Diebenkorn and Ed Ruscha and James Turrell and Karsten Haller and artists I hadn't heard of before, like Kusama and Baldessari and Howardina Pindell, and I enjoyed going down that road.

And also for books at museums, there's a fictional museum that's crucial to this book.

It's called the Museum of Contemporary Art.

It's in New York City.

And

How the museum functions, how the funds are raised, how the museum decides what to acquire, and then the complex process it must go through if it wants to deaccession a work.

Like, I never thought about any of that.

When I was reading it, I thought, oh, of course museums have to make decisions like this.

And of course they have to account for, you know, the finances and the decisions about the art and everything else.

But I never thought about it.

And I really enjoyed how this book drew me to think about it.