“Beautiful, isn’t it?” I ask with a smile.

The couple looks over at me and they both nod, though the woman doesn’t seem wholeheartedly convinced.

“Are you familiar with Mr. Pavlicek’s work?”

“I’ve seen a few of his pieces in Architectural Digest,” the woman responds, sounding a bit haughty. I get it; she doesn’t want to come across as a novice.

I make sure to seem impressed as I respond, “Yes, I think one of his collages was featured in the magazine just last month.” I glance between them, asking for their names, then I smile and introduce myself. “I’m Lainey Davenport, one of the art advisors here at the gallery. I’m happy to help if you need anything.”

I’m about to step back—to give them a bit of space—when the woman holds out her hand to stop me.

“Do you think this piece will retain its value? Fifteen thousand seems like a steep price to pay for an emerging artist.”

Though it might seem shocking, I’m quite familiar with this line of questioning. There’s a whole host of reasons why people decide to purchase art, least of which is that they appreciate the art. Sure, there are the enthusiasts, the ones who are in it purely for the enjoyment of possessing something they find beautiful, but those collectors are few and far between. Most often, clients who frequent galleries as exclusive as Morgan’s use art the same way people use designer clothes and jewelry: as a means to show off, and if they happen to be making a sound financial investment in the process, all the better.

I find it slightly amusing that far too frequently, the clients who spend unimaginable amounts in the gallery couldn’t tell me the difference between Manet and Monet; they merely want me to predict if their Magritte will accrue value and impress their friends as much as their Masson. Someone just last week asked me, while pointing to an abstract piece by Kandinsky—an artist known precisely for use of color in his compositions—if I thought the paint choices were “too garish”. I could barely keep a straight face as I assured him the colors were impeccable.

“Mr. Pavlicek is quite established in the art world,” I explain to the couple. “This is his third show at Morgan’s, and his pieces are always highly sought after. In fact, Saatchi purchased two pieces from his last show.” Their eyebrows jump at the mention of the famed art collector, so I decide to go in for the kill. “He was also deemed the darling of Art Basel last year by Faire Magazine. I have no doubt you’ll be pleased with the value of this piece over the years, and more than that—” My sentence comes to an abrupt awkward halt as my gaze catches on a man walking through the door of the gallery. I’m stunned, almost beyond repair.

The couple stares at me expectantly, obviously waiting for me to continue, and I eventually do with a forced laugh that hopefully conveys I’ve merely lost my train of thought and not my whole goddamn mind.