The art that is doing well in the market provides a place of escape from society. Right now, that’s an escape to rules and boundaries and to easily digestible culture. But the inverse is also true: when there is greater social stability, even ennui, as there was in mid-century America, the preferred art becomes that which allows for a flight into messiness and multiple interpretations. Crucially, however, this current turn toward the figurative and its stabilities seems to be particular to the rich, to those who are actually buying the art. It has not always been so. – The Baffler