The art dealer has been a historic derivative from the word seller, especially one who sells material means of existence, independent product or professional craft, and spoils of war.
Since the Renaissance the first art dealers are seen, since apart from commissions and sales to the artists and their workshops that were paid, there were also individuals who took advantage of the fact of writing about art or being friends with artists to operate in conditions of intermediaries between the producer and buyer.
Over time, who negotiates with art without being the producer became a key figure in the process of creation, circulation, offer and use of this cultural manifestation.
The overwhelming logic of capitalism made of them an interested inductor of the given mode of artistic production, this bridge with collectors and usufructuary institutions of aesthetic object and image, and who most benefited from the sale of things not conceived by them began to be reason of becoming one of the most effective speculation after earnings.
Seller imposed his interests and conditioned art to respond to requests from the buyers, while rounded what in political economy is called «commodity fetishism».
When the art dealer lacks a refined sensibility and a passion for aesthetic revelation, a culture of the event in question, the ability to understand and feel as own the creative evolution of the artists who are the sources of deals, can go to extremes to absolutize profit and price, salable pattern and value of change, market situation and shopping destination, placing them too far above the human nature, social, cultural and aesthetic of artistic productions they trade.
It is in this kind of art dealer, who is only prepared to sell goods, who appreciates the art only as a commercial product, where the dehumanization of personal conduct and disposition regarding professional ethics is frequent.
Cuba is not immune to these phenomena.