It is here that I reference my experience in Scandinavia, where I spent a summer moving through Sweden and Finland meeting curators, academics, policymakers, businessmen, artists, and mostly importantly, the Scandinavians. The Scandinavian model is internationally revered in its successful implementation of the social welfare system; a system that brings about virtuous cycles of trust in its communities apart from the nuts and bolts of the system that involves high taxes on citizen’s annual incomes to fund systems such as national education, healthcare systems, and strong maternity packages, to name a few. The nations share an entangled history of overlapping geographies and languages, travelling along tangents but ultimately carving out their own respective independence. It is precisely this acute combination of shared histories, geographies and cultural influences that allow for comparison and critique. Despite the many similarities, Sweden and Finland stand far apart in the state of their art markets at present day.