Private Parts: At Basel’s Beyeler Foundation, Jeff Koons Unveils, Explains New Work

Going by Adam Davidson’s logic in his recent New York Times Magazine article—the art market is “a proxy for the fate of the superrich themselves”—fans of the 1 percent will be thrilled to hear that sales were full speed ahead at least week’s Art Basel fair, despite Greece and Spain and myriad other global economic woes. One afternoon, an artist turned up outside the convention center with an unsanctioned artwork—a giant mousetrap poised to snap on a bunch of giant euros—and was swiftly removed by a bunch of guards, Masque of the Red Death-ishly.
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