Not everyone accepted "digital art." Several marketplace lawyers proposed a legal term to classify blockchain art as a separate asset class, exempt from traditional investment classifications. They argued that each piece of art is unique (unlike stocks), making art investments distinct from typical financial assets. Regulators, unfamiliar with art investment norms, granted NFTs a special status.
By 2020, the traditional art market was a 300-year-old system with auctions, galleries, fairs, museums, indexes, and 150 years of public sale statistics. The "pockets" of digital art collectors, however, had little to fill them: no digital museums, biennales, or substantial statistics existed. Only a handful of online marketplaces, a few European galleries, and one American art fair operated consistently.
These factors set the stage for NFTs, but even they wouldn't have succeeded without a receptive market. By 2021, the "creative" economy (art, fashion, music, film, gaming, etc.) was worth $2.3 trillion, while the crypto economy was valued at $2.2 trillion, with each boasting millions of participants and exponential online sales growth.
Noteworthy are the last two rows: the average holding period and average price of NFTs. Holding period influences liquidity and speculation, a factor that has followed the market closely. In 2021, eight out of ten purchased NFTs were immediately listed for resale, while only two were intended for long-term holding (reflecting a loose form of collecting). As we see, holding periods have declined consistently, while average prices, having risen sixteen-fold between 2020 and 2021, dropped threefold between 2022 and 2023.