I think what is now extremely novel and interesting is not anymore new paintings to see, but the way artists work, the way artists handle their work into the society, how they network it into the society, and also the place of the artist and his work is different, its new in the society now.1 I think you see now a first generation or two generations, the last generation, I’d say, who is dealing with emancipation or each one in their own way, like they’re dealing with things in the world. They are confident, and they are also, yeah, like to name a few, Maurizio Cattelan has a gallery or he used to have a gallery. And he’s also been a curator for the Berlin Biennale. And he also has two magazines. And maybe he starts a gallery again, strange.
I mean, the whole world likes his work, but 30 years ago if an artist would run a gallery, he would not be appreciated. It would stand in the way. It would stand in the way. Then, Damien Hirst, he just went to an auction house and starts to sell his work directly to people.2 What else is there? Murakami, he’s the worst or he’s the extremist example. He has his own art school. He can handpick his assistants out of his own art school. They work for him in his studio. And then his assistants, when they show a little too much ambition, they can go to Kaikai Kiki, which is his gallery. And Damien Hirst has also a gallery called Other Criteria. I think all that is extremely novel, and that must have a great effect on how the artwork looks like. I’m not passing any judgment.