Who are the movers and shakers of the art world? The powerbroker lists — and goalposts — keep changing depending on who is drawing them. Is the Japanese buyer of the most expensive Basquiat painting a force to reckon with as an influencer? Is a curator only as good as his latest outing? Does someone with a legacy but no current relevance form part of the annual club? Should a museum head make it over the achievements of his predecessors? Why should a gallerist even be on the list?
However relevant — or odious — these lists, what they most achieve is drawing ...
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