In the final episode with Art After Money author Max Haiven, we talk about:

The history of and the current fate of artist collectives, as prompted by a listener’s thoughtful question; Le Freeport, the ultimate art storage facility, a crypt-like structure which Max visited in Singapore, and describes his experience of being there, and subsequently we discuss what a Freeport, a crypt for rich people’s art and antiques, means for the greater world of financialization; the structural violence (systemic violence) committed by the global capitalist elite, and their tendency to morally insulate themselves from their actions, up to and including building escape hatches and bunkers from New Zealand to Mars; Debtfair and Strike Debt, collectives that formed out of Occupy Museums, which itself was spawned through Occupy Wall Street; the art world politics that led to the creation of Art Prize, and how its populist response to the secretive and collusion-oriented market art world has been a problematic response; how Debt Fair, which was included in the 2017 Whitney Biennial, operates by calling out the institutions and sometimes even individuals whom participants are literally indebted to; what the future of debt in the U.S. and beyond looks like, vis-à-vis mainstream political support for eliminating debt; the Commons, as seen in collectives formed during the Occupy movement and also how they manifest in relation to art and the history of art; Max’s call for the abolition of art as borne out of the abolition of prisons, and in asking the question “what if were to abolish art?,” including museums, galleries and other institutions, what would creativity then look like?; and how everyone, not just billionaires, but even artists, create structures of avoidance to carry on with our work and not get into too dark of a place.