Abstract
Moulin examines the ideological, economic, and legal implications of “rarity” and “uniqueness” in relation to the work of art and the art market. From the Renaissance onward, artists distinguished their works from those of industry and of handicraft by rejecting the utilitarian project and by making the uniqueness of every work an essential predicate of art, a process that was entrenched by the market and by the law. In the case of folk art and ethnographical objects, “rarity” can be promoted by the expert community, while the “rarity” of new objects, such as prints or photographs, has to be “produced” so that they conform to the model of the unique artwork.
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