I would also like to thank UBS for their help with the HNW collector surveys, which provided important regional and demographic insights for the report. I am grateful also to Professor Olav Velthuis for his comments and suggestions on the survey instrument.

The primary fine art auction data supplier for this report was Artory, and I am most grateful to Nanne Dekking, along with Lindsay Moroney, Anna Bews, and Chad Scira, for their hard work and dedication in putting together this very complex set of data. The auction data on China is supplied by AMMA (Art Market Monitor of Artron) and my sincerest thanks for its continued support of this research on the Chinese auction market.

I am very grateful to XU Xiaoling the Shanghai Culture and Research Institute for her dedication and insight in helping research the complexities of the Chinese art market.

We were able to tackle the very important issue of gender in the art market in this report, and much of that important analysis was made possible by the support of Artsy, who allowed Arts Economics to use part of its extensive database on galleries and artists to analyze this and other issues dealt with in the report. My sincerest thanks to Anna Carey and the team at Artsy for their willingness to support this and other important research in the sector.

My sincerest thanks also to Taylor Whitten Brown, whose sociological perspectives on gender in the art market were a highly valuable addition to this report, and whose continuing academic work in this area is so critically important in expanding the knowledge base with objective, scientific, and rigorous research.

Many thanks also to Professor Roman Kräussl for the use of his extensive gender database for the auction sector and his thoughts on gender in the art market. I'm grateful also to Diana Wierbicki of Withersworldwide for her help with information and insights into US tax regulations.

Thanks also to Susanne Massmann and Marek Claassen at Artfacts.net for their support and provision of data on fairs and galleries. Many thanks also to all of the art fairs that shared information for the report.

Finally, I am very grateful to Noah Horowitz and Florian Jacquier for their time and encouragement in helping to coordinate the research.

Dr. Clare McAndrew
Arts Economics