A plea for optimism
The rationale behind the question works something like this: Given the way the art world’s schedule runs, one assumes that most galleries paid for their art fair real estate many months ago. And given that many galleries have begun to rely upon their fair sales to remain profitable, if not solvent, in a down turn, the art fairs begin to look like a bigger and bigger gamble, akin to doubling down on an otherwise iffy hand. With the US economy in tatters, and knowing that the full scope of the financial crisis has yet to come into focus (not to mention the dismal performance of the fall’s contemporary art auctions), can there be any doubt that real buyers will be few and far between, and that only those galleries with (enough) cash already in the bank will still be around this time next year?
I do not relish what I believe to be the answers to these questions. The sought after purification of the art world’s soul will be seen–if LA MOCA’s potential collapse has not shown it already–to affect the avant-garde and the opportunists alike. So I ask, where is the silver lining? What should an optimist for the future of the art world be looking for? What might we find in Miami that we did not expect or could not have foreseen?