The Art Market 2022 presents the results of research on the global art and antiques market in 2021. The information in this study is based on data gathered and analyzed directly by Arts Economics from dealers, auction houses, collectors, art fairs, art and financial databases, industry experts, and others involved in the art trade.

I would like to extend my gratitude to the many suppliers of data and insights that make this report possible. A critical part of this research every year is the global survey of art and antique dealers, and I am especially thankful to Erika Bochereau of CINOA (Confédération Internationale des Négociants en Oeuvres d’Art) along with the association presidents worldwide who promoted the survey in 2021. Thanks also to Art Basel and to all of the individual dealers who took the time to complete the survey and share their understanding of the market through interviews and discussions.

Many thanks to the top- and second-tier auction houses that took part in the auction survey and offered their insights on the evolution of this sector in 2021. A special mention to Graham Smithson and Susan Miller (Christie’s), Simon Hogg (Sotheby’s), Jason Schulman (Phillips), and Jeff Greer (Heritage Auctions), as well as to Louise Hood (Auction Technology Group) and Suzie Ryu (LiveAuctioneers.com) for their data on online auctions.

I am extremely appreciative of the continued support from Tamsin Selby of UBS with the HNW collector surveys, which expanded significantly this year to include 10 markets with the addition of Brazil, providing hugely valuable regional and demographic data for the report.

Data on NFTs was supplied by NonFungible.com and I am very grateful to Gauthier Zuppinger for his help in sharing this fascinating dataset. Very special thanks also to Amy Whitaker and Simon Denny for their expert perspectives on NFTs and their relationship to the art market.

Thank you to Diana Wierbicki and her colleagues from Withersworldwide for their help with information on tax and regulations. My special gratitude to Pauline Loeb-Obrenan from artfairmag.com for granting access to her comprehensive database on art fairs.

The primary fine art auction data supplier for this report was Artory, and my appreciation goes to Nanne Dekking along with the data team Anna Bews, Chad Scira, and Benjamin Magilaner for their dedication and support in putting together this very complex set of data. The auction data on China is supplied by AMMA (Art Market Monitor of Artron), and I am very thankful for their continued support of this research on the Chinese auction market. Many thanks also to Richard Zhang for his help researching the Chinese art market.

Finally, my sincerest gratitude to Anthony Browne for his help and advice on parts of the report, to Marc Spiegler for his insights, and especially to Nyima Tsamdha for coordinating production.

Dr. Clare McAndrew
Arts Economics