If you missed it, this two part review by galleryELL is as close as you’ll get to experiencing The Maximum Wage.
On peeling back artworld structures:
Inside the venue, it’s hectic, a little ramshackle, with a DIY, handmade aesthetic. It’s as far as you can get from the white cube art gallery experience. In a commercial gallery, all is cool and quiet. There may be art on the walls, but there are rarely prices. Although the art world may be driven by money, you feel a little uncouth if you actually ask how much something is. Here the mechanics of making and spending money are in the foreground and in your face. You’re being asked to think about wealth and value, and how these are not objective facts but constructed ideas.
On our articulate lead artists:
When you speak to them, the artists are passionate, politically engaged. They reveal that under this playful performance about money, there’s a lot at stake. They’re more interested in talking to you, and finding out what you think, than in selling you their wares. Or even their ideas.
On a venue at the heart of the community:
Initially, I had mixed feelings about the venue, muddied by own childhood memories of church halls and village fêtes. Also, how brilliant (albeit dicey and likely short-lived) would it be to see a satirical zine set up in front of a large publishing house or an Orwellian-money production line on the corner of a skyscraping bank? On learning more about the venue, however, I changed my mind. I only wish it had been bigger so that even more people would have encountered it. Yet the event embodied the ‘think global, act local’ principle and perhaps what I considered initially to be a weakness was in fact just one of its many strengths.
There are many more observations and wonderful conversations to be found in this review, so do read it in full here.