Chapter 15 defends the critical implications of chapter 13 against the arguments that arbitrage and experiencing the costs of irrational behavior justify dismissing anomalous experimental results, such as those concerning preference reversals. The chapter then draws out some of the implications for the practice of economics of its philosophical conclusions, drawing on the work of George Akerlof and others who have studied conditional altruism and defended its importance. Chapter 15 also defends the legitimacy of the methodological preaching in this book against criticisms such as those voiced most compellingly by Deirdre McCloskey.

In this chapter we revisit both art and economics as defined categories. The art world itself operates as a system of institutional and commercial value and of complicated interplays of altruism, strategy, financial motivation, and artistic import. This system exists within a larger system. That is, the art world is part of the larger world. We explore the definition of art – the narrowness of the definition of "high art" and the breadth of creative and visual activity. We consider the process by which visual culture is legitimated into the category of art, and then ask whether broad access to art is economic – a chance to buy something – or civic – a chance to participate. In fact, economics itself is a creative discipline. George Akerlof, the Nobel laureate, recently wrote about economics’ "sins of omission" as a discipline. These omissions are in overlooking soft skills and lacking the ability to tackle complex interdisciplinary problems. Thus, we leave the book with an idea of economics as a set of tools to create sustainability in the arts and economics as a creative discipline to build the world as an art project.