今年艺术市场的五月盛宴始于威尼斯双年展,终于国际两大拍卖巨头在纽约轮番上演的拍卖大会。而实际上,对于习惯了做“空中飞人”的藏家们而言,地域早已经不是问题。于是,曾经被大家当做资本去疯谈的“去哪里买作品”这个本来就偏离艺术品收藏本质的问题被更为纯粹的“究竟去买怎样的作品”给取代。无论是伦敦、纽约、香港还是威尼斯和迈阿密,虽然艺术市场国际中心的地域优势还在,但无疑正在逐渐减弱,至少,现在还有多少人会一股脑儿地给这些 This year’s art market’s May Fest began with the Venice Biennale and finally ended with the auction of two major international auction houses in New York. In fact, for collectors accustomed to doing “trapeze”, the region has long been not a problem. Thus, the problem of “where to buy works” once devoted to capital as a topic of madness has deviated from the essence of works of art collection to be more purely “what kind of work should we buy”. Whether London, New York, Hong Kong or Venice and Miami, although the geographical advantages of the International Center for Art Market are still there, it is undoubtedly declining gradually, at least, how many people now will give these