Don Rubell says at one point in regards to collectors that they are creating their personal vision. It reminds me of the indexical practices we have talked about in the past. They buy all this expensive work and put it in their house or gallery or whatever and then have a party do display their "personal vision", their collage of purchased ideas. It's very commercial and upsetting, but at the same time highly appealing, and I have often felt the desire to do something like this, because it feels great to have other people's art. But then what about anti-artists who don't produce collectible memorabilia?
I was fascinated by all the different roles and strata that existed in this chapter. The Rubels, Blum & Poe, etc. Especially the agents who are able to curate for collectors! What a great, albeit high stress, job. All of the reward of choosing the art, none of the financial burden. Moreover, it's interesting to have been in audience at these fairs and then to realize you might not have fully understood why or how they were operating.