I write about the often-shadowy business practices and economics of the art trade, with a special interest in their under-examined relationships to other industries, including tech, luxury, fashion, film, and media. This project also encompasses my book, "The Great Reframing: How Technology Will--and Won't--Change the Gallery System Forever" (2017), and the many panel discussions and solo talks I've presented at art fairs, conferences, and universities around the world.

I oversaw the Art Market section of TAN's monthly print issues and website, including commissioning stories, editing, and writing about the business side of the industry across both publishing channels.

Aside from my weekly duties writing the Gray Market and cowriting the Back Room newsletter (both for our paywalled Pro editorial tier), I'm a founding coproducer of the Art Angle podcast and the deputy editor of our twice-annual Artnet Intelligence Report, a magazine-length compendium of data journalism and longform business-critical feature stories.

In this phase, I wrote the weekly Gray Market column and other reported features, as well as co-developed the Artnet Intelligence Report.

Prior to my joining the staff full-time, Artnet News syndicated the weekly column I published on my own platform, the Gray Market, and commissioned me for one-off feature stories.

I worked with the gallery's partners to develop and implement strategy for a select contingent of its artists (headlined by Mary Corse) as well as for the business as a whole. My responsibilities included strategic analysis of the larger art-industry landscape to identify untapped opportunities; project management of site-specific installations, exhibitions, and artist publications; acting as an artist liaison; and shaping the sales approaches and larger narratives around the artists within my purview.

I conceived, ghostwrote, and edited treatments (aka comprehensive pitch documents) for directors of T.V. commercials and online branded content, as well as longform essays and criticism for publications.

See below: only the name of the gallery changed due to the entry of new partners.

I project-managed the gallery's site-specific commissions from conception to completion, including a multimillion-dollar contemporary art program for the Fontainebleau Miami (featuring monumental works by James Turrell and Ai Weiwei); oversaw the accounts of the gallery's 10 largest collectors; edited and managed production of gallery publications; and contributed to the planning and execution of gallery exhibitions.

I oversaw the accounts of the gallery's 10 largest collectors, entailing everything from managing their artwork installs and compiling sales presentations to creating data-driven quarterly reports on their holdings; built and managed a new website for the gallery; wrote press releases and other public-facing and client-facing gallery communications; and contributed to the planning and execution of gallery exhibitions.

I sourced estimates for all packing/crating/shipping/storage, monitored all logistics, logged all relevant data in our inventory-management software, and organized all physical shipping documents for future reference and tax purposes.

Manned the front desk, answered phones, interfaced with the public, acted as de facto office manager, scheduled travel for the gallery's founder and director, and did every other small task that helps keep a gallery running day-to-day.