The global market for contemporary art is not quite as global, but concentrated in a few countries. This centralization notwithstanding, the Colombian art scene has achieved to internationalize to a larger extent in recent years. This article argues that two challenges make reaching a more global audience difficult: convincing international buyers of the value of art from the periphery and match-making of local sellers and international buyers. Based on these two activities, the article develops a four-fold typology of brokers that undertake either valuation, match-making, both, or none of these steps. The article identifies an empirical example corresponding to each of the ideal types, drawing on 36 semi-structured interviews with Colombian art experts. The article highlights the challenges and advantages associated with each type of brokerage. The analysis suggests that transactions are most encouraged if the party that determines the value also organizes the buyer-seller encounter. Match-makers that are not accepted valuators tend to affect the valuation of the good negatively, through their involvement in the transaction. Valuators that do not engage in match-making are helpful in establishing the value of art in Europe and the US, but it is not clear whether or not this results in transactions.

当代艺术的全球市场并不那么全球化，而是集中在少数几个国家。尽管有这种集中化，哥伦比亚艺术界近年来已经实现了更大程度的国际化。本文认为，有两个挑战使接触更全球化的观众变得困难：让国际买家相信来自周边地区的艺术品的价值，以及当地卖家和国际买家的牵线搭桥。基于这两项活动，本文开发了一种四重类型的经纪人，这些经纪人要么进行估值，要么进行撮合，要么同时进行，要么不进行这些步骤。本文利用对哥伦比亚艺术专家的 36 次半结构化访谈，确定了与每种理想类型相对应的实证示例。本文重点介绍了与每种经纪业务相关的挑战和优势。分析表明，如果确定价值的一方也组织了买卖双方的接触，则最鼓励交易。不被接受的估价师的媒人往往会通过参与交易对商品的估价产生负面影响。不进行撮合的估价师有助于确立欧洲和美国的艺术品价值，但是否会促成交易尚不清楚。