Maurizio Cattelan

So it says, one, that it's not dead and that markets are always going to fluctuate and they're probably object-driven as much as they are driven by, you know, these macroeconomic factors. But I think it definitely made this really fun. And for the auction houses, that's really important because they're meant to be this playground for the world's wealthy, right?

So it says, one, that it's not dead and that markets are always going to fluctuate and they're probably object-driven as much as they are driven by, you know, these macroeconomic factors. But I think it definitely made this really fun. And for the auction houses, that's really important because they're meant to be this playground for the world's wealthy, right?

And everyone is really closely tracking how the world's wealthy feel because, you know, If wealthy people feel like the economy is in an upward trajectory, they can really throw their weight around. And so I think people are maybe more cautiously optimistic about where the art market is going from here. And they have some fun track record to point to, you know, in the next go around.

And everyone is really closely tracking how the world's wealthy feel because, you know, If wealthy people feel like the economy is in an upward trajectory, they can really throw their weight around. And so I think people are maybe more cautiously optimistic about where the art market is going from here. And they have some fun track record to point to, you know, in the next go around.

And everyone is really closely tracking how the world's wealthy feel because, you know, If wealthy people feel like the economy is in an upward trajectory, they can really throw their weight around. And so I think people are maybe more cautiously optimistic about where the art market is going from here. And they have some fun track record to point to, you know, in the next go around.

Oh, Ryan, that's not even a question I allow myself to go to. I'm a reporter. Yeah, I know. I do. It's like an impossible question for me. Like, I think, you know, when I head to our Basel, Miami Beach, will I give some extra pause to any groups of people that I see loitering around anything? Like, yes, I will be more tempted to stop and make sure I'm not missing anything.

Oh, Ryan, that's not even a question I allow myself to go to. I'm a reporter. Yeah, I know. I do. It's like an impossible question for me. Like, I think, you know, when I head to our Basel, Miami Beach, will I give some extra pause to any groups of people that I see loitering around anything? Like, yes, I will be more tempted to stop and make sure I'm not missing anything.

Oh, Ryan, that's not even a question I allow myself to go to. I'm a reporter. Yeah, I know. I do. It's like an impossible question for me. Like, I think, you know, when I head to our Basel, Miami Beach, will I give some extra pause to any groups of people that I see loitering around anything? Like, yes, I will be more tempted to stop and make sure I'm not missing anything.

the banana boat, if you will.

the banana boat, if you will.

the banana boat, if you will.

The banana tells us, right, that the art market and the art world operate on an intellectual and comedic and financial plane that strike the rest of us as completely insane. And the truth is, like, if you're going to go and buy a piece of canvas and some tubes of oil paint and then slather it on a thing, it should probably only be worth... you know, a few dozen dollars.

The banana tells us, right, that the art market and the art world operate on an intellectual and comedic and financial plane that strike the rest of us as completely insane. And the truth is, like, if you're going to go and buy a piece of canvas and some tubes of oil paint and then slather it on a thing, it should probably only be worth... you know, a few dozen dollars.

The banana tells us, right, that the art market and the art world operate on an intellectual and comedic and financial plane that strike the rest of us as completely insane. And the truth is, like, if you're going to go and buy a piece of canvas and some tubes of oil paint and then slather it on a thing, it should probably only be worth... you know, a few dozen dollars.

Like when you start to think about the materials that become art, it's just paint. But then we collectively as a society decide that that picture painted by like some guy named Pablo Picasso, right? Turns out to be worth hundreds of millions of dollars, right?

Like when you start to think about the materials that become art, it's just paint. But then we collectively as a society decide that that picture painted by like some guy named Pablo Picasso, right? Turns out to be worth hundreds of millions of dollars, right?

Like when you start to think about the materials that become art, it's just paint. But then we collectively as a society decide that that picture painted by like some guy named Pablo Picasso, right? Turns out to be worth hundreds of millions of dollars, right?

Or Da Vinci, you know, like this is the whole construct of art is that we as a society decide to agree that something that maybe inherently has very minimal value has a cultural... value way outstripping the materials that were used to make it. And so that is kind of the bargain that we make with all artworks. It's just rarely that it's something that can rot after a few days.

Or Da Vinci, you know, like this is the whole construct of art is that we as a society decide to agree that something that maybe inherently has very minimal value has a cultural... value way outstripping the materials that were used to make it. And so that is kind of the bargain that we make with all artworks. It's just rarely that it's something that can rot after a few days.

Or Da Vinci, you know, like this is the whole construct of art is that we as a society decide to agree that something that maybe inherently has very minimal value has a cultural... value way outstripping the materials that were used to make it. And so that is kind of the bargain that we make with all artworks. It's just rarely that it's something that can rot after a few days.