The Period When Commissioned Artwork Became Ubiquitous Within Europe, the Period When Artwork Became Abstract, the Aspects of Civilization Which Art is Critical of, the Commonality of Artists Utilizing Workers to Produce Artwork During the Renaissance, the Practice of Artists Utilizing Workers to Produce Artwork During the Modern Day, the Responsibilities of Art Galleries During the Modern Day, How Art Galleries Convince Patrons of the Economic Value of Artwork, the Concept of the “Primary Market”, How Art Dealers Ensure Price Points of Works Virtually Never Become Reduced, the Reason Art Dealers Strive to Ensure Artists Remain Profitable, the Secondary Strategy Art Dealers Utilize to Ensure Artists Remain Profitable, the Legality of Market Manipulation for Artwork vs the Legality of Market Manipulation for Industries Unrelated to Artwork, the Reason Art Dealers Bid Upon Artistic Works Already Owned, the Reason This Strategy Increases the Overall Economic Value of Artwork, the Reason No Major Museum Generates a Profit From Artwork, the Total Economic Cost of Each Museum Patron, the Concept of “Give, Get, or Get Out” Within the Art Industry, the Dual Corporations Which Dominate the Art Industry, the Reason Few Attendees Bid Upon Artwork During Prestige Auctions (Evening Auctions), the Only Transparent Economic Aspect of the Art Industry, the Ambiguity of the Economic Value of Artwork, the Concept of “Chandelier Bidding” Within the Art Industry, the Reason Chandelier Bidding is Practiced During the Modern Day, the Problem With This Strategy for Auction Attendees, the Reason Collectors Bid Upon Artwork They Do Not Want to Purchase, and the Benefit of This Strategy to Maintain the Economic Value of Artwork and Artists