Lately do you get the feeling that if it’s a day that ends on “day,” there’s another headline about the art market reaching new highs (sales records, hype for young artists, mega-galleries)? But it’s not only speculation that’s the talk of the town—these reports are often accompanied by an equal hunger to see the market’s horizons expand into every last corner of metaphorically unclaimed geographical “real estate.”
Last month, texts by Sarah Rifky and Adam Kleinman introduced the establishment of new commercial galleries in two very different local scenes—Cairo and Ciudad Juárez—where a market for contemporary art has been marginal to non-existent due to a combination of complex political and economic factors.
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