Ramtin Naimi

And the competition to acquire art has dramatically increased as well.

There's now 10, 20 artists exhibiting primary shows with a given gallery.

And that artist will present 12 paintings in that show.

And that'll be the only 12 paintings they make available to the public for the next two years.

And 100 people want those paintings.

Now you have to jump through hoops of, well, you're saying, well, I'll buy this painting and also buy one painting, give it to a museum if you give this one to me.

So the real costs of actually collecting are not what the prices of are the primary, because you can't just walk in and pay that much for the painting and get it.

And one of my mentors tells me he's never bought a painting for less than $100,000 that he's made any money on.

the barriers of entry are quite high to actually get the higher quality blue chip art.

Obviously, there are totally still examples today where you can get lucky and get something before it's truly discovered and do well on it financially.

But when competition comes into the market, the market services that demand.

So there's way more artists represented by these galleries today than historically.

Historically, these galleries would represent 10, 15 artists.

Now the bigger galleries are representing 75 to 80 artists.

Smaller ones are representing 25 to 30 artists.

They're putting shows on for them constantly.

Every day in my inbox, I'm probably getting 30 previews for exhibitions for new shows opening by new artists.

So more to seed investing, the volume of art you're being sent daily and the entry prices to access entry-level art are just getting astronomically higher.

Your bar needs to be incredibly high for the new living contemporary artists, but it honestly makes the value investing of looking to what is the art that's proven the test of time that might be an opportunity to get a great example of today.

What might those opportunities be?