1.1. "The interests of the art world, in accordance with the values of Western art and economics, lie in continuous innovation and expansion to incorporate new kinds of artefacts and new markets for them" (Burt: 2014: p. 170).
1.2. This chapter looks at art history as an ideology, and it reviews what values define the Western tradition of art. It looked at the appraising of art history, looks at art as collectibles, and the institutions define art value.
2. Ch.12 The Exotic Primitive
2.1. This chapter focuses on primitive culture as it looks into the primitivism of the art, the appropriation of small society's artifacts, the market for primitive art, and the cultural contexts in exhibitions at the British Museum.
2.2. "While all societies define their own cultural identity by contrast to exotic others, the Western tradition does so in particular ways, with an underlying assumption of superiority deriving from a history of colonial mastery" (Burt: 2014: p. 172).
3. Ch.13 Marketing Exotic Art
3.1. "Making things for this market provided a source of income for needy Native communities, and one that sustained their own artistic traditions, but when they developed and adapted these traditions for the market, they risked accusations of inauthenticity" (Burt: 2014: p.190).
3.2. This chapter focuses on the marketing of exotic art. It looks into its effect on cultural art values, how the market contributes to the local culture and the homogenization of exotic art.
4. Ch.14 Artistic Colonialism
4.1. This chapter focuses on artistic colonialism and its effects on indigenous people. It looks at the appropriation of their culture, the adoption of art values, and the control of metropolitan elites.
4.2. "Europeans have become experts in the artistic domination of other regions of the world during the last few centuries, but it has been a mutual process between the colonizers and the colonized, albeit on unequal terms" (Burt: 2014: p. 204).
5. Ch.15 The Global and the Local
5.1. "Such artistic creativity, deriving from local traditions that people can identify with as their own distinctive heritage, however diverse their backgrounds, is a democratic alternative to the cultural hegemony of global capitalism and its elitist art world" (Burt: 2014: p. 237).
5.2. This chapter focuses on the globalization and role of public institutions in artistic developments. It looks into the commodification of art, universal and national museums, alternative museums, and new art communities.
