the status of Christopher Wool, who appears to have ‘risen without trace’, as described in the Nov/Dec editorial, is strikingly analogous to that of a celebrity with opinions as fatuous and ungrounded as Wool’s ‘art’. As our editor observes, the ‘value’ of a Wool ‘resides purely in its perceived status as a tradeable luxury’. There is nothing new in
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Turning Wool into money … or fool’s gold
Eric Coombes responds to an editorial about the art cash cow
If we regard his ‘work’ as the
equivalent of the celebrity’s ‘opinions’, then