Abstract

This article examines the sale of film and video as art objects, with particular attention to the development of the limited-edition model throughout the twentieth century. It offers an explanation for the ascendance of this model in the 1990s and explores both the support and criticism it has received.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 97-118
Launched on MUSE
2013-10-18
Open Access
No
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