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.

Markets are intersections of buyers and sellers brought together to exchange goods and services most efficiently, so the theory goes. In fact, markets are also connected to barter and exchange and to their underlying value: resourcefulness. We look at Nina Katchadourian and her artwork made on airplanes ("Seat Assignment") as an example of resourcefulness, Caroline Woolard’s Work Dress as an example of barter, and Elizabeth Cleland’s exhibition as an example of equivalencies created by markets. We introduce supply and demand, how the graphs are constructed, and how to think about shifts in supply and demand.