The economic disparity between the galleries and art dealer is quite interesting here. A gallery although holds and exhibits art, is a place where art is sold. To read that most galleries talk about not being interested in the monetary value of the works they exhibit is quite absurd. Why do galleries try to discard commercial interest when it is one the goals of the place. It is how new emerging artists make money as well gets into the public scene. From this point of view, the capitalist reduction of all values contrasts the concept of "Nothing But" model that ascribes monetary terms conflicts with art's creation of autonomous, esthetic values. Pierre Bourdieu’s notion talk of “Nothing But” esthetic values veils a practice actually driven by ordinary economic motives. Velthuis finds that both views are incorrect, sbecause cultural concerns as well as strictly business-oriented interests regulate ordinary economic behavior itself.
I find it hard to take the “hostile world” model as a bad thing. As an artist you have the choice to decide to sell your works or not, I do not see why an artist should not sell works anyway. People will always buy art, and it is impossible to be aware of the nature of people buying the works. It might be for whatever reason they want but while they decide on the purpose of what to do with an artists work, the artist is out there making money and making a name as well. That said, if the “hostile world” also consists of art dealers who are squeezing money out of artist who are desperate to exhibit their works, then it is something to talk about. The hostility should be geared towards art dealers rather than the people who buy art for whatever reason. The art dealers are supposed to be friends to the artist rather than this stereotype of being insensitive to the feelings of an artist
Dealers do not display the prices of their wares, because they present themselves as engaged not so much in a business as in a sort of cultural philanthropy; the relationship between dealers and their clients is not restricted to the exchange of cash for goods but also takes into account the social meanings with which objects are endowed. Pricing therefore involves speculation on the future significance of works, as well as the influence of current esthetic fashion, and prices are treated as themselves indicators of quality. I agree with Velthuis that by reducing multiple meanings of prices and the negotiated interaction between dealers, collectors, and artists to nothing but another instance of utility maximization, we do injustice to the complexity of these phenomena.
The back room of a Gallery in seattle, Washington with tags which might be displaying informations about the price amongst other things.
While in Rome, I realized that it was very difficult to locate galleries, not only because they were small, but they were hidden in places no one will ever think of going to look at or buy art. The same happens to be seen here in New York. I don’t know if separation of the front and back galleries is so that it can enhance the experience of people coming in to vie the artworks, or has a psychological connotation to it. However, I believe that even though galleries sell art, they, to most lay people are also museums and so when people get there to look at art, they will not expect to see activities of sale going on. I don’t know I am right by saying that from the way it has been structured, it looks like only people who know about art or the art market tend to look for the backroom. Front rooms have taken into this boxlike architecture form with plane white space and good lighting to evoke the sense of appreciating art in it purest form, that way galleries can defend their very long historic adage about not interested in the commercial aspect of art but more about the experience. Yet in the backroom, is where the dealings take place, the primary market and the secondary market. The primary market is the selling of works of artist on exhibit in the front room, while the secondary market is the sale of works by other prominent artist, maybe works by people who have once exhibited there. Sometimes galleries collect works of artists who have exhibited there in their storage and sell it upon request. 
Clark Gallery, Boston