Abstract
Like its catchy title, The Warhol Economy makes an argument about contemporary urban redevelopment in Sex and the tones. The author, urban planning professor Elizabeth Currid, shows a breathless fanlike devotion to the doyens of design who drive New York City as her subtitle says, and this serves her well when she wants to chat up the movers and shakers who are loosely affiliated in social networks that meet at downtown art galleries, gala events, and clubs, and who are seen in the pages of Vogue and in the tents of Bryant (now Damrosch) Park during the semi-annual Fashion Week. Currid's point is that these social networks produce the culture that is New York City's best known commodity. To keep the economic engine going, participants must keep making connections across industry lines, and policymakers must nurture the places, from art schools to bars to inexpensive artists' districts, where connections are made.
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