The art system, different economic spheres, and the urban dimension have all merged together in an overlapping of their respective logics and fusings of cultural, political and economic causalities. The new trope is no longer a work of art but a postartistic object which challenges visual limitations. The expediency of culture is not alien to the creative processes: on the contrary, it is written into the very genes of any artistic production.

Thus any analysis regarding the actual conditions of the art world demands an intercultural perspective in order to describe the rapid acceleration of value modifications. Such circumstances are prompting new research models shifting from visual culture studies to more dialogical and biopolitically-oriented methodologies. Research into the art world can no longer ignore all those different spheres that have merged into the new postartistic object, not even by taking an analytical perspective as an alibi.