This situation presents a particular challenge for those in the culture industry who have traditionally relied on access to wealth to sustain cultural production. Historically, they have relied on commissions, sold luxury products, and partnered on financing of new cultural businesses and projects. While these efforts continue, the conduits between new accumulations of wealth and cultural products have become less reliable. At the same time, the narrative structures that contribute to a broad image of wealth and value and that play a significant role in justifying the price of luxury goods and artwork have begun to be harder to render, transmit, and sell. The result is a situation where wealth and things of value are less aligned and a cultural economy that is less sustainable as a result. Moreover, it has resulted in a growing disconnection between those whose wealth has been generated more recently and those whose wealth has an origin that lies further in the past.

As this has occurred, the concentration of wealth in the hands of a few has grown. This concentration has led to a complicated relationship between mass culture–as well as associated trends and styles–and the elite who increasingly become the dominant consumers of luxury products. In this context, we should interrogate who benefits from such a concentration and the role that it plays in defining broader social structures and the behavior of the culture industry. At the same time, we should understand this concentration of wealth in the context of a massive wealth transfer between generations that is beginning to occur. We need to better understand the relationship that this new generation will have to wealth as well as the traditional cultural products that this wealth has gone to consume. This relationship is informed by the digital universe in which they have grown up and the unprecedentedly powerful tools of cultural production to which they have been given access. They have always lived in a world where everyone can be a creator and are deeply skeptical of gated cultural institutions designed to preserve static archives associated with past generations. 

This skepticism of the past can, however, lead to a certain paralysis that causes wealth to become immobile. In this context, we should ask how we can invest in narratives that bridge generations as well as the infrastructure and agents that can support such translation. Doing so will help to engage multiple communities simultaneously while also opening more space for a new generation to build both distinction and cultural continuity. Ideally, the result will be to  empower new art, businesses, entrepreneurs, and even those who might once not have been granted access to forms of culture considered to be elite. 

To begin this process, we should start with the current state of the representation of wealth. Doing so will help shed light on what we do know about the current situation, how the general representation of wealth occurs, and the role that objects, products, spaces, homes, and services play in representing and defining the wealth of an individual, community, or organization. It will also begin to reveal the nature of the facade that has been constructed by those with wealth, how this construction has occurred, and how we might look beyond this representation to more accurately understand and unlock wealth. Doing so is not intended to necessarily democratize access or make the personal lives of the wealthy public. It also cannot occur from a position that is strictly external to wealth. Instead, it should take place in collaboration with those who have inherited, accumulated, and maintained great fortunes with an eye towards making those representational structures work better and perhaps even contribute to the creation of future wealth.