The Rising Tide of Inequality: How Political and Economic Shifts Threaten Progress in the Art World
In the last three decades, the art industry has undergone a transformative shift, evolving from a realm dominated by wealthy elites and traditional gatekeepers to one that opened its doors to underrepresented artists. Minority voices, long excluded from mainstream galleries and major collections, began to gain recognition, thanks to mission-driven galleries, grassroots movements, and online platforms that allowed everyday people to collect and support emerging talent. The art world has always served as a mirror to society, reflecting its complexities, tensions, and transformations.
However, as global politics shift further to the right and economic disparities deepen, the art world now faces a looming threat of regression. The consolidation of wealth and power into the hands of a select few risks undoing the strides made toward diversity and accessibility. Moreover, the monopolization of media by big tech corporations threatens to undermine the inclusivity that was fostered in recent years. As wealth becomes more concentrated, so too does influence over what art is produced, showcased, and collected, leaving the future of the arts in a precarious state. If history is any guide, these broader socio-economic shifts may push the art world into a new era of political indifference and exclusion, where the progress of the past is at risk of being undone.
Sara-Vide Ericson, Soul Fracking, 2024. (Courtesy of the artist)
To make her paintings, Ericson often ventures into nature to act out narratives or rituals she has created. It is only after she has "lived" such an experience that Ericson chooses to translate it into a painted scene. One of three paintings created for this exhibition, Soul Fracking is an aerial view of the artist pulling a horse through Halsingland, a rural region of northern Sweden where she grew up and where she has lived for the past ten years. This painting, the artist's largest to date, depicts a landscape marked by human intervention, specifically the mining industry's exploitation of natural resources. All her landscapes resist that genre's tendency towards romanticism and timelessness and instead depict contemporary figures in nature that is cavernous, muddy, and even overwhelming.
A Return to Exclusivity?
Historically, the art market was curated by a narrow demographic—wealthy white collectors, predominantly male, who shaped the canon of what was considered "important" art. These collectors, along with powerful institutions, dictated market trends and cultural value. The rise of digital platforms and socially conscious galleries temporarily disrupted this cycle, offering a foothold to marginalized artists and introducing affordable works to a broader audience.
Yet, with economic power centralizing once again, there’s growing concern that the art world may revert to old patterns. Ultra-wealthy collectors and blue-chip galleries are regaining dominance, buying up works by already-established artists as a means of wealth preservation rather than cultural enrichment. Economic instability often drives investors to art as a "safe asset," inflating prices and making it harder for smaller collectors and mission-driven galleries to compete. This dynamic threatens to push emerging and minority artists out of the mainstream market.
Big Tech’s Stranglehold on Visibility
The monopolization of digital platforms by tech giants like Meta, Alphabet, and Amazon has reshaped the landscape of art and media, often to the detriment of independent creators. Social media, once a tool for artists to bypass traditional gatekeepers, has become an increasingly hostile space. Algorithms prioritize paid promotions and mass-market appeal, while organic reach dwindles for those who cannot afford to pay for visibility.
Moreover, censorship under the guise of "community guidelines" further stifles creative expression. Artworks addressing controversial or critical issues, such as racial justice, LGBTQ+ rights, or climate change, are often flagged, shadow-banned, or removed entirely. The digital ecosystem is being sanitized to fit corporate interests, erasing the subversive power of art that challenges societal norms.
This commodification of visibility has created a two-tiered system: one for those who can afford to navigate the algorithms and another for those who cannot, leaving emerging and marginalized artists struggling to find their audiences.
Doron Langberg, Lovers 2, 2020. (Rubell Museum)
This painting was one of the first paintings I made when I got back to my studio during the pandemic, around May 2020, and because I couldn't really work from observation or have access to models, I was using source material I created when I was an undergrad student. The painting depicts me and an ex-partner of mine and is based on small graphite drawings I made from a video of us together. The space in this piece is almost abstract, made of expressive mark making. The bodies come in and out of focus, revealing sweeping brushstrokes that connect the figures with their environment. Through the movement and chromatic color, I wanted to embody the physicality and eroticism of the subject matter.
The Politicization and Censorship of Art
Beyond economics, rising political conservatism poses its own challenges. Right-wing movements around the world have increasingly targeted arts and culture, cutting funding for progressive initiatives and censoring works that challenge dominant narratives. Public funding for the arts, already scarce, faces further reductions under austerity policies. This environment creates a chilling effect, discouraging institutions from taking risks on politically charged or socially critical work. The rise of book bans and attempts to limit access to literature further reflects this broader trend of controlling intellectual and creative freedom. As with books, works of art that question or subvert mainstream ideologies are becoming targets, with institutions and governments alike seeking to stifle diverse voices and limit the scope of expression.
Alfredo Jaar, Life Magazine, April 19, 1968, 1995. (Minneapolis Institute of Art)
At left in Alfredo Jaar's triptych is a reproduction of a photograph of Martin Luther King, Jr's funeral procession by American photographer Gordon Parks (American, 1912-2006) that Jaar altered by adding dots to it. The black dots in the center image denote Black mourners, while the red dots on the right represent the white faces in the dense crowd. Jaar makes us aware that the racial tensions gripping the United States during King's lifetime were evident even in the disparity of those attending this day of mourning.
Censorship as a Tool of Control
Equally concerning is the growing pressure on museums and galleries to censor art that challenges political or cultural norms. A survey conducted by Artists at Risk Connection (ARC), PEN America, and the Association of Art Museum Directors (AAMD) found that nearly 65% of art museum directors have faced pressure to withhold artworks or cancel exhibitions at least once in their careers (Hyperallergic).
Sally Mann, a renowned American photographer, has been at the center of controversy due to her provocative images. In 2024, the Modern Art Museum of Fort Worth in Texas showcased an exhibition of her work, which included photographs of her children in various states of undress. This exhibition drew criticism from local officials and members of the public, who deemed the images inappropriate and harmful to children.
The controversy escalated when local authorities launched an investigation into the images. In response, the museum removed several of Mann's works from the exhibition, citing the investigation as the reason for the decision. This marked a significant moment in the ongoing debate about artistic freedom, censorship, and societal standards.
Jim Denomie, Standing Rock, 2018. (Minneapolis Institute of Art)
In France, major institutions like the Musée du quai Branly and the Musée Guimet have altered exhibition content to align with political pressures from China. For example, the Musée du quai Branly replaced the term "Tibet" with "Région autonome du Xizang" to match the Chinese government’s official narrative. This adjustment followed a 2023 Chinese law aimed at erasing Tibetan cultural memory after its occupation in 1950 (Le Monde).
In the United States and across the globe, political interventions have increasingly targeted higher education institutions. Conservative efforts have led to laws and appointments aimed at reforming universities, with concerns that such measures could limit academic freedom and influence research agendas.
East Tennessee State University (ETSU) Art Exhibit Controversy (2024):
An art exhibit at ETSU featured works depicting political figures alongside symbols like swastikas and Ku Klux Klan hoods. This sparked outrage among Republican lawmakers, who demanded the exhibit's closure, citing the artworks as divisive and offensive. Despite the controversy, ETSU upheld the exhibit, emphasizing the importance of freedom of expression. (NY Post)
Lewis-Clark State College, Idaho (2022):
Following the Supreme Court's overturning of Roe v. Wade, the college removed artworks from an exhibition that addressed reproductive health care, including abortion. Artists whose works were removed expressed feelings of shame and disbelief, highlighting the challenges of silencing stories about reproductive health. (American Civil Liberties Union)
Royal Academy of Arts, London (2023):
During the Young Artists' Summer Show, the Royal Academy removed student artworks that compared Israel to Nazi Germany. The decision followed complaints about the pieces' content, leading the institution to apologize and acknowledge the distress caused. (The Times & The Sunday Times)
Censorship like this is a powerful tool for controlling narratives, limiting the diversity of perspectives that reach the public, and preventing artists from engaging with critical social and political issues. When institutions yield to political pressure, it silences voices that challenge power structures and diminishes the role of art as a vehicle for change.
Funding Cuts Across the Globe
Recent examples highlight how cultural institutions are already being squeezed by political agendas:
In Florida, Governor Ron DeSantis vetoed over $32 million in state arts grants in 2024, affecting 663 arts and culture organizations. Broward County alone lost $3.3 million in anticipated funding, leaving many arts organizations scrambling for resources and threatening their survival (Arts Calendar).
In Scotland, the prestigious Edinburgh International Festival (EIF) experienced a 40% decrease in public funding over the past decade. Despite an increase in Scotland's overall arts budget, EIF's director, Nicola Benedetti, was forced to cancel the festival’s opening event due to financial strain (The Times).
One of President Trump's first actions during his recent inauguration was signing an executive order aimed at ending funding for certain Diversity, Equity, and Inclusion (DEI) programs. “This includes environmental justice programs, equity-related grants, equity action plans, equity initiatives, these types of things,” the Trump aide said. (NY Post)
During his first presidential term, President Trump attempted to eliminate the National Endowment for the Arts. Although this did not come to fruition, it is possible he may revisit this issue in his current term, as the administration focuses on budget cuts and what they deem “wasteful.”
These funding cuts disproportionately impact cities, small towns, and community-driven art spaces, limiting opportunities for underrepresented artists to showcase their work.
Hugh Hayden, The Kiss, Black walnut and pine with oak dowels and steel facemasks, 2020.
In The Kiss, two football helmets are caught together like stags whose horns are locked in battle. Their interlocking forms and the title of the piece suggest a range of relationships, from homosocial comradery to same-sex intimacy. Many of Hayden's sports-related sculptures expose the fact that the very devices supposed to protect may also wound. The Kiss recalls the high number of brain injuries suffered by football players.
Protecting Progress in the Arts
The art world stands at a crossroads. The progress made in recent decades to amplify marginalized voices is fragile and under threat. Without proactive measures, the industry risks sliding back into an era where only a privileged few have the power to shape cultural narratives.
Artists, collectors, and cultural institutions must recognize the stakes and take deliberate action to preserve the diversity and accessibility that have enriched the art world. This means supporting underrepresented artists, resisting the commodification of art as mere investment, and fostering spaces where creativity can thrive, regardless of political or economic headwinds.
For artists, the path forward lies in resilience and autonomy. By building strong networks, embracing technology, and diversifying their strategies, artists can continue to forge paths outside traditional power structures. The art world may be shifting, but artists have always been agents of change. Now is the time to reclaim that power.
Henry Taylor, Untitled, Mixed media, Installation dimensions variable, 2022.
First exhibited in 'Henry Taylor: B Side, a major survey exhibition at the Museum of Contemporary Art, Los Angeles in 2022 that travelled to The Whitney Museum of American Art the following year, 'Untitled' (2022) is a poignant, large-scale installation. It comprises 35 life-size, headless mannequins, configured as a meeting of the 20th-century American political organization, the Black Panthers. Behind them hangs a banner emblazoned with 'END WAR AND RACISM!!!
Support the Black Panthers, while several black leather gloves float above them, raised in ghostly fists of solidarity. Pinned to the mannequins' black leather jackets—some worn over the black turtlenecks typical of Black Panther Party members, others over more contemporary attire (including civil rights activist and former football player Colin Kaepernick's San Francisco 49ers jersey)—are badges printed with the Black Panther logo and with photographs of victims who were murdered by law enforcement in the more recent past.
Conclusion
Artists have always been at the forefront of protest, change, and challenging societal boundaries, using their work as a powerful tool for resistance and disruption. While we are supposed to have freedom of speech, it is increasingly clear that this freedom is often reserved for those who align with the views of those in power. In a world where digital platforms are tightening their grip on what can be said and seen, artists still possess the unique ability to use their work to speak out and express what matters most. Do not let your art or voice be silenced. As artists, we are meant to challenge the status quo and express our truth, no matter the cost.