The recording of the speech is now online under the title ‘Where Are They Now?’. On receiving the final version, to say we were surprised would be accurate. The guy who recorded it was a voice over actor, adverts being something that frequently appeared in his feedback. This meant that instead of a casual, friendly tone (similar to one you might hear when listening to a speech of this nature) what we were presented with was an emotionless, detached one. This is a huge part of employing people to do things for you – messages aren’t conveyed, as they were initially intended. It also reflects the nature of something like an advert – the people in adverts don’t care about what they have to say and probably not about the product either. So this means that parallels begin to form between how art dealers/collectors might feel when bidding on ‘important’ works of art. They’re buying into the idea of it as opposed to the objects themselves. The question is then, is work by a ‘famous’ artist inherently conceptual due to what they stand for? People are interested because of the idea of the artist not the actual work but just the fact that they are who they are. This has links to branding – people know who Picasso is and they know his work is valuable and is therefore a worthwhile investment. The added factor that listeners hear fictional projects and artworks but in real situations is perhaps makes people consider the idea of ‘truth’. Artists are fabricators/liars/makers/creators/falsifiers/inventors by definition; they bring things into the world that did not previously exist. For something to be ‘true’ does it have to have physically happened in the tangible world or can it manifest as a story or conversation? For example, does someone saying they love you ‘count’ as much as them buying you a million roses? Putting art inside the turbine hall at Tate Modern is one way of having a show at Tate Modern but another way is just to tell people you did, and then inside their head, you have.