Christo preceded Banksy in wresting material security or ‘business models’ from ephemeral, unshackled art — offered to all with no admission fee

Christo could have no equal in his extravagantly inventive reinvention of payment for art. Applying artistic license to finance, he exercised it to the limit. Heaven only knows how he worked out his methods of getting paid not for his barely-there/short-stay/vanishing/ephemeral works of ‘land art’, seemingly dreamt up at [ ]