museological object
110 x 110 x 90 cm
chart on wall, 300 x 110 cm
Errata series (since 1998)
exhibition: Museum of the Political Economy of Art
11x7 Gallery, Buenos Aires 2012


Critical Texts:
Capital On/scenities
by Teresa Riccadi
by Silvia Litardi
by Marìa Fernanda Cartagena
Performing in the Theatre of The Auction House
by Gabriela Salgado

More information:
Museum of Political Economy of Art
Auctions, Market & Money
ArtAuctionMarket en Flickr
Dispari & Dispari



Plus-Valía [Surplus Value] proposes to visualize—by means of an investigation using Forbes, Artnews and other sources—the relationships and influences of the 200 top art collectors on the art system.

This includes opening foundations and private museums, creating centers for philanthropic purposes, sitting on governing boards of relevant public museums, sponsoring biennials, etc.

The piece examines the people who Artnews ranks as the "200 top collectors" (protagonists of major businesses and companies and part of the world’s 700 richest people). They represent a 'systemic model' of collection and behavior on a global scale. The research focuses on defining this model and the roles and behavior of these collectors with respect to the field of art, mainly their influence over public institutions.

Plus-valía [Surplus Value] (2012)[1] , a statistical display* laid out like a pie chart – dialogues with the other piece that expands upon the concept. The first piece provides a set of monochrome values about variation and distribution of hegemony, collecting and the museum (its public and private status), whereas the second piece lays out a set of relations that, from indicators in this space, show not only the 200 top collectors and their 25 most lucrative businesses, but also their combinatory forms in percentages associated with their participation on museum boards, the museums themselves, those that have foundations, and finally, the philanthropists. Surplus Value (2012) documents, measures, and gives scaled visibility to the growing dependence on the market, the pornographic on/scenities between art and capital.

excerpt by Capital On/scenities

by Teresa Riccardi

[1] Plus-valía [Surplus Value] finds an antecedent in Herrero’s 1997 work Mi Botín [My Booty], in which the notions of ‘extractivism’ and collecting are connected as founding/instituting ones, from a post- colonialist and ‘museumized’ perspective.
*[English in original – trans.]