On November 20th, in a packed Sotheby’s auction room in New York, Maurizio Cattelan’s conceptual art piece 'Comedian' - a single banana duct-taped to a wall - achieved the seemingly unthinkable. Selling for $6.2 million, it shattered expectations and reignited debates about the contemporary art market's boundaries. This was no mere sale; it was an event. It was a statement.
The journey of 'Comedian' began in 2019 at Art Basel Miami, where it debuted at a comparatively modest price of $120,000. I recall the scene vividly: a throng of intrigued, perplexed and delighted attendees gathered around that now infamous banana. What many initially dismissed as a joke quickly transformed into an artwork that demanded serious discourse.
Much like Tracey Emin's 'My Bed', which invited audiences to consider the intimate mess of everyday life; 'Comedian' strips art down to its barest elements. It’s a banana, a piece of duct-tape and a wall. But, crucially, it’s also an idea. And ideas, as history has shown us, can be priceless.
To its critics, 'Comedian' is an indictment of the contemporary art market, a playground for the absurd where wealth often outpaces taste or substance. They denounce its sale as emblematic of a time when concepts eclipse craftsmanship, when art is as much about provocation as it is about creation.
Yet to its defenders, 'Comedian' is a triumph of simplicity and ingenuity. In the age of commodification, where even digital files can command millions as NFTs, a piece as fleeting and mundane as a banana can carry extraordinary cultural weight. By its very nature, 'Comedian' forces us to confront the absurdity of the systems we use to assign value: whether in art, commerce, or society at large.
The identity of the buyer — crypto entrepreneur Justin Sun — is as telling as the artwork itself. The likely use of cryptocurrency for the purchase feels like a natural progression from the NFT boom that rocked the art world in 2021. Here we have a perishable, everyday object being exchanged for digital wealth; two forms of currency that challenge traditional notions of permanence and stability. It’s a poetic, almost performative transaction that aligns seamlessly with the artwork’s conceptual underpinnings.
This sale wasn’t just about owning an artwork; it was about participating in a cultural moment. It’s about saying, “I was there. I saw the future of art and I bought it.”
For me, the sale of 'Comedian' evokes mixed emotions. On one hand, it is undeniably inspiring. It proves that art can be anything, that even the simplest concept can transcend the boundaries of what we traditionally think of as “art.” It reminds us that art is as much about the ideas it provokes as the form it takes.
On the other hand, it is impossible not to feel a pang of concern for the countless artists working tirelessly to hone their craft, often struggling to gain recognition. What does it say about the art world when a banana with a strip of duct-tape commands a spotlight that so many others are denied?
The Real Masterpiece: The Conversation
What cannot be disputed is 'Comedian’s' impact. It has done what the greatest art always does: sparked a conversation. Whether you see it as genius, folly, or something in between, you’re engaging with it. You’re questioning the nature of art, value, and ownership in a way that few works can achieve.
In a way, that’s the true brilliance of Cattelan’s banana. It’s not the banana itself, or even the tape, but the questions it raises. What is art? What gives something value? How do we measure originality in a world saturated with ideas?
As the art world digests this record-breaking sale, one thing is clear: 'Comedian' has secured its place in the annals of art history, not as a banana on a wall, but as a cultural moment. Whether we celebrate it, critique it, or laugh at it, we’re all a part of its legacy. And that, perhaps, is the most profound statement of all.
Written by Zaid Alexander Badda
Gallery Director, Creed Gallery