Lately among news from the Venice Biennale and major art fairs including Frieze and Basel Hong Kong, art auction prices have received another moment in the spotlight including Warhol’s record-breaking US$195 million Shot Sage Blue Marilyn (1964) and Basquiat’s US$85 million Untitled (1982).
It looks like enthusiasm in the secondary market has returned to its golden days, but has there been any underlying shift to the sector when the global pandemic has prompted a re-evaluation of how we experience and value art?
