Sweden. For Schantz, the walls were built to slow the ingress of homogenized "outside" art into Sweden. In building these philosophical "walls", certain consequences, likely unintended, had also been created. In the withdrawal from the "international" and "homogenized" art world, Sweden had suffered. Critic Ludvig Rasmussen believed that Stockholm at the end of the sixties, "had lost its luster." Stockholm had steadily earned the descriptor of "provincial". For Rasmussen, by the 1980s some museums sat as nothing more than "stone-dead mausoleums". International artists, namely American artists, diminished significantly in Sweden during this period. Jeremy Lewison believed that Lundquist's decision not to continue to participate in the international art market also had a long term negative effect on his career. The artist, while keeping his values, had simultaneously deprived his career of the world's attention. Unlike his British counterparts, whose works were routinely pushed into the world markets (and world recognition) by the British Council, Lundquist in Sweden had no governmental/private equivalent to the British Council. Lundquist was primarily his own marketer. When he withdrew, there were few to "market" his work outside of Sweden. Lundquist was not forgotten; the artist was simply unavailable, except in Sweden. Concerns regarding economics and art Lundquist's decision to withdraw himself from the broader art world was subjective. His observations regarding capital and its ability to influence the world of art conflicted with his individual values/ethics; it was a personal judgment Lundquist made for himself. Leaving his ethical concern(s) in abeyance, his observation that money exerts influence on the art world would generally be considered correct. That economy has, and continues, to play a role in the dynamics of the art world is recognized. Money's interrelation and/or influence on art, indeed even the metrics of such, continues to be studied academically; the subject is a broad and lively one. To add context to the degrees of change since Lundquist's observations, and to establish how factual his concerns may have been, the researcher can look to the prices which art patrons were paying for the works of art created by recognized artists during the 1950s-1960s, as compared to prices currently paid. In the 1950s, Jackson Pollock's twenty two inch square painting Number 16 was purchased for $306. A similar scale work (20 x 24 inch) by Lundquist was sold during the 1959 Beaux Arts Exhibition. The work titled The Pink Rock* was created circa 1959 and