Focusing on the case of Inigo Philbrick and his alleged fraudulent overselling of artworks by Rudolf Stingel, we offer a new theory of art market scandal that builds upon Alexander’s framework of the pure and impure, and Adut’s concept of transgressive publicity. We argue that the presence of an art market creates latent impurity, according to the Hostile Worlds conception of markets as an impurification of art. The further financialization of an artwork into shares redoubles money’s impurification of art by creating what we term a financial simulacrum. Philbrick’s case allows us to expand Adut’s theory from mapping an art scandal of moral decency to conceptualizing an art market scandal of financial transgression. We argue that financial transgression—as enabled by the increased securitization of art—depends on the persona of the art dealer as intermediary, a projection that is itself a simulacrum. Thus, we frame Philbrick archetypally as hydroponic, validated, novel yet neutral, and self-pardoning. Drawing on interviews of expert insiders and close reading of court documents and press articles, we contribute a model of art market scandal that encompasses the dual artistic and financial nature of traded artworks and the shared art-industry risk of regulation.

以伊尼戈·菲尔布里克 (Inigo Philbrick) 和他涉嫌欺诈性过度销售鲁道夫·斯廷格尔 (Rudolf Stingel) 的艺术品为例，我们提供了一种新的艺术市场丑闻理论，该理论建立在亚历山大的纯与不纯框架以及阿杜特的违规宣传概念之上。我们认为，根据敌对世界将市场视为艺术不纯的概念，艺术市场的存在会造成潜在的不纯。将艺术品进一步金融化为股票，通过创造我们称之为金融模拟的东西，加倍了金钱对艺术的净化。Philbrick 的案例使我们能够扩展 Adut 的理论，从描绘道德体面的艺术丑闻到概念化艺术市场金融违法丑闻。我们认为，金融犯罪——由于艺术证券化程度的提高——取决于作为中介的艺术品经销商的角色，这种预测本身就是一个拟像。因此，我们将 Philbrick 原型化为水培的、经过验证的、新颖而中立的和自我宽恕的。通过对专家内部人士的采访以及对法庭文件和新闻文章的仔细阅读，我们提供了一个艺术市场丑闻模型，其中包含交易艺术品的双重艺术和金融性质以及艺术行业共同的监管风险。