These projects investigate the impact that the market, money and business have on our perception of art, understanding this challenge as a way of questioning the critical promise of art.

Some of these projects propose systems to measure if, when art crosses the line into business, this weakens its subversive potential. They include documentary drawings, live actions, video, the second versions of auctions catalogues, sheets, posters, graphics, theatrical presentations with Power Point, a website, mathematical calculations, and technical and legal expertise, the constraction of a trial.

Museum of the Political Economy of Art 2012
Action-Instruments Box Presentation
Plus-Valía (Surplus-Value) 2012
Errata-Catalogue 2012
Action-Instruments Box 2011
Auctions Market & Money since 2008
Suite Auction Drawings since 2008
Errata since 1998
Maps 2008
Industrial Design 2001
Enchanted Landscape


Museum/Collections raises active questions about the museum, the act of collecting, and the status of legitimation as systems of belief and narratives of power. It includes interventions, installations, mise-en-scène, video, archives, performances, letters, and documents.

Wherever an object is exhibited (or otherwise singled out), it enters into a "conversation" with other artifacts and, according to the context in which it is placed, it champions an array of particular views which, inevitably, differ from a host of other views. Both as metaphor and agent (not only within the art world), it becomes part of the negotiations—and the struggles—over how we understand the world and what our social relations should be. (Text by Hans Haacke, from Viewing Matters, Museum Boijmans Van Beuningen)

Museum of the Political Economy of Art 2012
Displays 2009
Conversazioni 2009
A&A-Lost In History 2007
Conversaciones 2006
Conversaciones 2005
Minigarden 2005/2006/2009
Imperio/Things 2005
Alice Ville 2005
Cultural Productions 2004
Chat 2001
My Booty 1997/2002


These projects operate on drifts and lines of flight. Revisiting the vanguardist inheritance, they turn to the rhetoric of the symposium or conference, psychogeography, the tour, activism, bar talk, the creation of laboratories, live magazines, or new devices. In these exercises, the artistic practices—through the use of performative strategies of mimesis and camouflage— become invisible.

Museum of the Political Economy of Art 2012
Public Considerations, A Symposium In Three Acts 2010/2011
Revolutionary Travel!
Culture Secretary 2009/2010
Cultural Capital
Legality/Essays for a tribunal since 2008
Capital Flow´s
since 2008
since 2007
The Paradigm Confines Tour
Magazine in Situ since 2004
EPA! 2003/2006
Sucesos Archive/Elipse 2003
Guided Tour 2001

Alicia Herrero

Since the mid-1990s, Art & Capital has brought together a group of practices that stage the contradictions implicit in the construction of the gaze and of the image we have of art, considering this narrative within the framework of capitalist culture.

The impact of the market, the narratives of legitimation, the rhetoric of freedom— these practices are deployed in several media, such as graphic works, installations, actions and performances, drawings, performative symposiums, situational/social-processes, documents, and videos. These projects employ resources and conceptual methods borrowed from art and other practices such as courtroom drawings, the development of economic graphs and calculations, cartography, theater, films, official documents and legal tactics.

Some of the projects that comprise Art & Capital implicate the exhibition as site-specific; some are defined at the limit of artistic genres; and others, by means of strategies of mimesis and camouflage, entail the creation of other ontological value.

Alicia Herrero

Performative-talk: Art & Capital