London's National Gallery, sitting on £30 billion in masterpieces, solves its £8.2 million deficit by firing the humans who actually make the museum function. Corporate euphemism meets cultural vandalism.
Gallery hype, auction manipulation, overvalued artists, institutional vanity
London's National Gallery, custodian of £8 billion in masterpieces, claims it cannot afford staff while executives deploy "strategic reset" euphemisms to mask institutional moral bankruptcy.
At 86, Jack Lang discovers consequences exist. The French cultural icon resigns from Institut du Monde Arabe after his Epstein ties surface—proving that selective blindness is the art world's most perfected skill.
When a convicted sex trafficker commissions a 9-foot painting of child murder for his ranch's entryway, and the entire art world just ships it—no questions asked—you've found the perfect symbol of institutional complicity.
How the New York Academy of Art sold scholarship students and institutional legitimacy to a registered sex offender for the price of a used Honda Civic.
Trump demands his own shrine at the Smithsonian, threatening funding cuts if America's premier museum doesn't showcase his fan art and scrub inconvenient historical facts. Institutional capture in real-time.
Western dealers who spent 2020 posting black squares now wait obediently while Qatari royals pass notes deciding which paintings they might eventually buy. The art world's moral flexibility has found its ultimate stress test.
A Canaletto sells for $44 million, proving once again that the art market's favorite masterpiece is whatever separates hedge fund managers from their capital most efficiently.