In 2005, I already knew about this narrow MFA-to-market pipeline. I was in an anti-art fair at Parker’s Box in Williamsburg, wh ere I met a performance artist. He confided that he was the only person in his MFA cohort at Columbia who didn’t sell work in a recent open studio. He was the only one who wasn’t making paintings. I don’t know what happened to him and I haven’t heard much about his career. I wonder if he wasn’t good enough or if he chose the wrong programme or, more worryingly, if the narrow tracks of selectivity already determine the kind of art that makes it into galleries and museums. They tend to lead to the same places.