The rise of NFTs has incited conversations around ownership structures of the artwork, but what about ownership of the other power players such as galleries and platforms? Ultimately these conversations are driving at the same perennial question, how is art financially enabled and supported? The problem of how art is funded and what impact that has is not new. Early patrons of art were institutional religions and the resulting artwork reflected both the values of the church and the values artists willing to please the purse strings. Nationally funded artwork is no different. Leo Tolstoy saw the professionalisation of art as hampering the creation of good works. He essentially argues in his
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