' (Enwezor 2003, 57).The process of globalization has been famously described by the anthropologist Arjun Appadurai in his book Modernity at Large (Appadurai 1996), which focused on the cultural dimensions of globalisation, or else, as he called it, the 'disjuncture and difference in the global cultural economy.' Globalization has been equated with a shrinkage of time and space which in turn has created an interdependency between world economies, politics and cultures. Appadurai uses the concept of flows and deterritorialization to describe the process of globalisation which confers fluidity to relations and to the transfer of information and people. This is also related to the idea of 'time and space' -flows are moving and therefore not associated with one local and temporal point. He opposes this phenomena of globalisation to the notion of landscapes, predominant in the nationstate hegemony and to the perception of people, practices and ideologies as attached to lands. As an alternative, Appadurai coins the term: scapes. Through the lens of the concept of scapes, individuals are no longer assigned to one particular locality but instead seen as interacting with a deterritorialized environment where they participate in creating, reproducing and potentially modifying cultural apparatuses. The degree of individuals' participation in these cultural apparatuses can be correlated to the nature of the cultural form. In this sense, contemporary art can be seen as a 'hard cultural form.' This is to say that the bond between the value, the meaning and the practice itself is very strong. As such, it requires a thorough comprehension of the codes of this practice: its vocabulary, mechanisms, meanings and representations. If one wishes to transform or modify this practice, one must first appropriate and understand these codes. On the other hand, these global relations are marked by being indirect, and not specific to a time and space (Feldman 2011). At the same time, these flows are mediated through different means, such as the production, diffusion and consumptions of goods, the trade and transfer of commodities, the movement of people, the transfer of information thanks to the internet and technologies such as broadcast devices (films, TV, cd etc.). The condition sine qua non is to have the ideological frame in common, otherwise these relations cannot exist.The contemporary art market represents a particular case within the general market. In the art market it is hard to make a distinction between the monetary value and the artistic value. The art market seems to have its own way of working with special actors involved in it: gallery-owners, auctioneers, collectors, private buyers, and states. It is seen as a special, mysterious phenomenon, and a controversial one at that, because of the nature of the art-piece and the prices involved, not to mention collectors, mostly from elite upper-class, creating artists' success or fall through their purchases.