OM: You're right, a collection should be seen as part of a dispersed public collection and the dialectics between patrimony and the market are complex because of the added value — or the loss value — of these commodities. The art object is an arm chair for the tired businessman said Matisse, but businessmen, none of them know what any of it is worth, Bob Dylan would say.

BN: Where did he say that?

OM: In "All Along the Watchtower." Of course we are not here to explain the world. Art is not metaphysics, plus nobody really understands the mechanisms that determine value. The market, which is a relationship, has basically the laws of the spectacle including the spectacle of communication. The intelligence or the ambition of the artist will not hurt, but he has to know how to move in a system of schools, galleries, and museums. Of course we're not talking about outsider art. Then, he should be at right place at the right time. He might even have to be lucky. Smart dealers, oligarchs, hedge-funders, financiers, and those who have the means to do so are the main players, but they have to deal with the hand that's given to them, and what they can see.