Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.
Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.
Those who love him love that he sells the most art; they take it as a point of faith that this proves Kinkade is the best. But his fans don't only rely on this supply-and-demand justification. They go back to values.
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