“You can go to any number of dance panels where this comes up—about context and why artists are able to support themselves and dancers aren’t,” said RoseLee Goldberg, the author of a history of performance art and director of the performance art biennial Performa. “They don’t understand why if you did the same work in a dance context, you wouldn’t be able to command a price to sell the work. You’re looking at the very crux of the difference between these two economies and the histories that shape them.

Read the article on scam artist/genius Tino Seghal over at The NY Observer.