This issue addresses the long financial crisis of 2008 and the nature and diversity of artistic responses to it. This financial crisis is understood as a globalized result of late capitalism that nonetheless is experienced differently at local, regional, and national levels. It is multi-faceted in nature, a phenomenon that has historical roots and precedents that inform contemporary responses. Artists are not restricted to engage with the economy through one specific vehicle of inquiry or one type of medium and message. Therefore, the central question that this issue poses is: what is the artist’s role in finance, crisis, and the economy? Should artists: fix the economy; explain it; attempt to alter it; reject it; participate in it; or none of the above? The articles, artists’ projects and interviews presented here attend to these questions through a wide-ranging lens including: studies of historical precedents such as the Great Depression of 1929 and currency crises in Latin America in the 1970s; artistic direct interventions within financial systems that reveal and challenge their opaque processes and value systems; alternative currencies highlighting the neo-colonialism of global financial markets; and blockchain-based rethinking of art market ownership models. These multi-faceted projects spanning different time periods and geographies offer crucial and distinct theoretical positions. This issue, which saw its origins in a panel for the 2017 College Art Association Conference in New York City, adds to scholarship on these pressing topics and seeks to foster a continued discourse on the intersections of art and financial crisis.

中文翻译：

---

金融危机时代的艺术

本期讨论了 2008 年长期的金融危机以及艺术对它的反应的性质和多样性。这场金融危机被理解为晚期资本主义全球化的结果，但在地方、区域和国家层面上却经历了不同的经历。它本质上是多方面的，这种现象具有历史根源和先例，可以为当代的反应提供信息。艺术家不限于通过一种特定的调查工具或一种媒体和信息来参与经济活动。因此，这个问题提出的核心问题是：艺术家在金融、危机和经济中的角色是什么？艺术家应该：修复经济；解释一下; 试图改变它；拒绝它；参与其中；或者以上都没有？文章，这里展示的艺术家项目和采访通过广泛的视角来解决这些问题，包括： 对 1929 年大萧条和 1970 年代拉丁美洲货币危机等历史先例的研究；金融系统内的艺术直接干预，揭示和挑战其不透明的流程和价值体系；突出全球金融市场新殖民主义的替代货币；以及基于区块链的艺术市场所有权模式的重新思考。这些跨越不同时间段和地域的多方面项目提供了关键且独特的理论立场。这个问题起源于纽约市 2017 年大学艺术协会会议的一个小组，