The Wal-Mart Biennale

"It isn't that, when Wal-Mart heiress Alice Walton purchased Asher B. Durand's 1849 painting Kindred Spirits last year, she got the state of Arkansas to pass legislation specifically to save her taxes -- in this case, about $3 million on a purchase price of $35 million. It isn't that the world's second richest woman and ninth richest person (according to a Forbes magazine 2005 estimate) scooped the painting out from under the National Gallery and the Metropolitan Museum of Art, which had banded together to try to keep it in a public collection when the New York Public Library decided to sell it off. It isn't that Walton will eventually stick this talisman of New England cultural life and a lot of other old American paintings in the Crystal Bridges Museum of American Art, the Walton family museum she's building in Bentonville, Arkansas, the site of Wal-Mart's corporate headquarters -- after all people in the middle of the country should get to see some good art too. It might not even be, as Wal-MartWatch.com points out, that the price of the painting equals what the state of Arkansas spends every two years providing for Wal-Mart's 3,971 employees on public assistance; or that the average Wal-Mart cashier makes $7.92 an hour and, since Wal Mart likes to keep people on less than full-time schedules, works only 29 hours a week for an annual income of $11,948--so a Wal-Mart cashier would have to work a little under 3,000 years to earn the price of the painting without taking any salary out for food, housing, or other expenses (and a few hundred more years to pay the taxes, if the state legislature didn't exempt our semi-immortal worker).
The trouble lies in what the painting means and what Alice Walton and her $18 billion mean. Art patronage has always been a kind of money-laundering"
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