Philip Guston, Fable II, 1957, oil on illustration board/Courtesy: Hauser & Wirth

Are galleries the new museums? The “mega-galleries” would certainly like us to think so. Those four or five commercial empires upon which the sun never sets, and which cast an ever lengthening shadow over the global art trade, now look to confer prestige on their artists by mounting their own “museum-quality” exhibitions. For this they can deploy their museum-sized venues. They can bring in one-time independent scholars and former museum professionals to secure high-end loans and publish voluminous catalogues. They can create a market, usually for name-brand artists with overlooked (and...

 
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