与其它中介形式一样,艺术品贸易在发挥中介作用时扮演了十分矛盾的角色.作为艺术作品贸易的一种工具.它将日益广泛的社会集团同艺术联系起来,并造就出一批不断醉心于此道的群体.与此同时.它在创作主体与接受主体之间充当一种隔离因素,并因此而对艺术创作的客体化做出贡献.实现这一贡献的途径就是将艺术作品转变为贸易品,即随时可供买卖的客观商品.由于画商们的宣传,艺术品得以更经常且更容易地为新的热衷者们所拥有,并得以更迅速且更无限制地与他们之间建立联系.但这种联系比在雇主、委托人、资助者或鉴赏家与艺术家之间的个人关系的条件下建立起来的联系更为浮浅而短暂。 As with other forms of intermediation, the trade of art plays a very contradictory role in the intermediation of the act as a tool for the trade of works of art, linking an ever-growing group of societies to the arts and creating a group of constantly engaged At the same time, it acts as a factor of separation between the subject of creation and the subject of acceptance, and thus contributes to the objectification of artistic creation. The way to make this contribution is to convert works of art into trade Goods, that is, ready-to-sell, objective goods, art objects are more often and easily owned by new entrants and more quickly and unrestrictedly connected with them thanks to the propaganda of the art dealers But this connection is more superficial and ephemeral than it was in the case of personal relations between employers, clients, funders or connoisseurs and artists.