Jerry Saltz

Much good art got made while money ruled I like a lot of it, and hardship and poverty aren’t virtues. The good news is that, since almost no one will be selling art, artists – especially emerging ones – won’t have to think about turning out a consistent style or creating a brand. They’ll be able to experiment as much as they want.

The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.

When money and hype recede from the art world, one thing I won’t miss will be what curator Francesco Bonami calls the ‘Eventocracy.’ All this flashy ‘art-fair art’ and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event.

‘Untitled’ is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.

Money is something that can be measured art is not. It’s all subjective.

The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn.

Art usually only makes the news in America when the subject is money.

Not to say people shouldn’t get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.

One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.