James Tarmy had one of his usual smart takes on the art market last week with a story on the ways in which artists whose works are featured in the Whitney Biennial tend to see their work on the market soon after. Most of the action is in the day sales. But, as Tarmy points out, some of those artists who get a pop from the biennial go on to have valuable secondary markets.
Such is the case with Christopher Wool whose work from the 1989 biennial is being sold by the original buyer’s heirs. Tarmy cautions not to read too much into that case of survivorship bias:Continue Reading