Art Market

Why tax leverage may be the key

Two central issues: the strategic role of fairs and the proposed law to reduce VAT on works of art

(Adobe Stock)

3' min read

3' min read

In recent months, the debate around the art market in Italy has become more lively, stimulated by two central issues: on the one hand the increasingly strategic role of fairs as a hub of exchanges and relations, and on the other the proposed law to reduce VAT on works of art. Marilena Pirelli, in the pages of 'Plus24', recently drew attention to these issues, opening up a reflection that involves both the fiscal and the cultural and systemic spheres.

The new Artsy report, Art Market Trends 2025, the result of an international survey involving over 1,600 collectors and gallery owners, also raises the issue. Among the most significant data, a critical node emerges: collectors consider the market to be non-transparent, particularly in the determination of prices and the commercial policies of galleries. Sixty-nine per cent of respondents said they had given up buying a work because of the lack of transparency, while only 5% perceived the market as truly open and accessible. Perhaps the most telling figure is that works with a visible online price are six times more likely to be sold than those with no price indication.

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This picture shows a systemic imbalance. Galleries recognise the importance of transparency for their customers (62% say so), but more than half have not taken steps to improve it during 2024. Only 44% regularly publish prices online, while a further 25% only communicate them on request.

In this context, the proposal to reduce VAT on works of art should not be read solely as a fiscal intervention. It can and should represent an opportunity to stimulate a cultural and operational evolution of the entire sector. Tying the tax relief to minimum transparency criteria - for example, the obligation to display the price and its composition (including or excluding VAT, any commissions, transport costs) - would mean promoting a more accessible and readable market for operators, new buyers and institutions.

Addressing the issue of transparency also implies recognising the critical nature of the tools currently used to evaluate works. Almost all price analyses are based on public auction data, which are easily accessible but only partially representative. A distinction should be made here between platforms and economic indices.

Platforms - such as Artnet, Artprice or MutualArt - are large databases that collect millions of auction results and offer tools to monitor trends, compare prices, analyse artist profiles and, in some cases, even buy works.

Economic indices, such as the Mei Moses Index (today managed by Sotheby's), adopt a more structured analytical approach: they use the method of "repeat sales" to assess the price trend over time on the same works resold several times. These indices are particularly useful for the economic analysis of art as an asset class and for medium to long-term evaluations.

Both share a substantial limitation: they are based almost exclusively on information from the auction market, which represents only a fraction of the actual transaction volume. Most buying and selling takes place on the primary market or in private negotiations, segments that still remain largely opaque.

In this scenario, political discussion can make a decisive contribution to bridging the information and cultural gap. Tying access to tax benefits to the adoption of minimum standards of transparency - such as the publication of prices in fairs or gallery catalogues - could be a turning point. This would not be a bureaucratic burden, but a strategic investment in trust, accessibility and development.

A more transparent market is a more inclusive market, more competitive internationally and more attractive to new entrants. At a time when a more open and sustainable art is being called for, transparency - also stimulated through fiscal levers - can and must become a key resource to strengthen the credibility and growth of the sector.

(*) Bocconi University

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