Proximity was inspired in part by Fucking Good Art, a Rotterdam-based art rag that has taken flight and finds itself coming out with special issues from festivals and biennials from all around Europe. Given our focus in interpreting the machinations of various art worlds we find their Swiss Issue instructive and illuminating: 'Greed is the fuel of the art market.' We have attempted to understand how the system behind art works, and have looked critically at the role of the market. We have quickly come to understand that the market is effective for only approximately 3 per cent of artists. But how do you decide who will make it to the top? Nobody is really willing to make a declaration about quality, and many leave this distinction to market forces. It was for this reason that we felt it necessary to look for an other model, a possible alternative way. We had one question that we wished to pose to everyone: do you think the current hierarchical model works? And this usually led to a second question: is it possible to conceive another model? We received very divergent answers. Rein Wolfs states: ‘There is no art without a market’, Oliver Kielmayer says that the market works fine, but also that there are two systems that operate independently of one another. Anders Petterson talks about a new breed of art investors: Art Angels, a hybrid of traditional collector, patron and shrewd investor. Frank Hyde-Antwi says: ‘There is no reason why you should accept the existing model’ and came up with an alternative model that makes room for more than the 3 per cent whom the market serves. And Henry Levy says that artists cannot survive at all without the help of patrons, collectors etc. Karen Wright describes a business-like managerial approach to art that is a far cry from the romantic vision of the artist.