Curio Cards was created as the first curated Art Gallery on Eth with exactly this idea in mind.
In 2017, artists from different cities and countries came together to educate people about blockchain through art, promote Digital Art as a medium, and create a more direct path between artists and collectors.
For example, Luis Buenaventura / Cryptopop, one of the Curio artists, became the first Filipino NFT artist to have work sold at both Christie’s and Sotheby’s.
And part of his royalty earnings later went toward his non-profit initiative supporting aspiring Filipino artists 👏
ALT https://medium.com/@curiocards/the-tale-of-cryptopop-bitcoin-bulldogs-and-flipping-the-filipino-art-industry-d6c8a4f349b6
Recently I’ve read a lot of critiques about our space: gatekeeping, speculation, taste, visibility, community, power. A lot of them are fair. Crypto doesn’t magically change human behavior.
But I don’t think the real question is whether NFTs eliminated hierarchy. They didn’t.
The better question is whether they created more paths for artists without major followings, gallery backing, geographic privilege or institutional recognition to become visible, find collectors and make a living.
I’d argue that’s happening here more often than anywhere else in the contemporary art world.
Not perfectly. Not without contradictions. But at a scale large enough to matter.
That’s the test for me: not whether this space solved power but whether it opened more doors than the systems before it.
I think it has.