In my two-week journalistic foray on Art:21′s blog into the effects of Sandy on the lives and livelihoods in the art world, I planned one last post about the art fairs in Miami last month, as a look towards national and international reverberations. In the weeks leading up to my blogger residency, I had contacted a number of galleries who were affected by the storm and were not able to re-open. As expected, I did not hear back from a single one. I did, however, notice that a number of these galleries posted their booth addresses for Miami alongside those of their inhospitable New York locations. It made me wonder whether the fairs provided a welcomed surrogate space for galleries, or were instead poorly timed sources of stress. Because galleries from around the world gather at the Miami fairs, it seemed to me that I could use them as some sort of litmus test for the global market now and into the future, perhaps even more representative than the major auctions in November.
Unable to see for Miami myself this year, I had interviewed two of my mentors and former supervisors who make the yearly commute; one is a collector and former museum executive, and the other is an art advisor. Both wished to remain anonymous for reasonable professional and personal reasons, so I will call them L and J. Unfortunately my editor could not allow me to publish anonymous interviews on Art:21 (also reasonable), so I thought I’d post our conversation here, because this insight could be valuable to an interested readership. I am extremely grateful to have been able to steal a bit of their time and get their opinion on not only the fairs but the future of the art world around us. Please find the conversation after the cut.