The market for visual art is among the most opaque of all cultural economies, governed by taste-making relationships between galleries, collectors, and critics whose criteria are never fully explicit and change faster than any artist can track. To make work with the market in mind is a legitimate strategy; to make work for the market alone is a different practice, and the distinction matters. The art that outlasts its market tends to have been made by someone who cared about something else more.
Mura