“Art Basel may not have instantly made Miami into a global art hub, as some predicted when it first landed on Florida’s shores in 2002, but the fair has been steadily driving year-round museum attendance and arts patronage.”

“Some artists want their work to stay up forever. For me it’s part of the game, you don’t know if it will stay up or if you will be arrested.”

In a statement, the biennial’s president, Paolo Baratta, referred to Okwui Enwezor’s knowledge of the “complex phenomenon of globalisation”. The curator of Documenta 11 in Kassel, Enwezor has organised biennials from Seville to South Korea and the major travelling survey of post-war African art “The Short Century” (2001-02).

“The investment in physical infrastructure may not correlate with income potential. Just because they are historic structures that should be saved doesn’t mean they should all be historic house museums.”

The Musée Unterlinden decided to restore its greatest treasure: Matthias Grünewald’s Isenheim Altarpiece. Then the cultural brawl began.