“Anyone can give art a price. The interesting part is finding someone else who agrees.” – Miles Veblen Miles Veblen is an anonymous contemporary artist and founder of Capitalist Expressionism, a movement that examines the relationship between art, capitalism, and the construction of value. Working primarily in painting, Veblen draws from financial history, advertising, popular culture, luxury, speculation, and the art market itself. His work considers how an ordinary object can acquire extraordinary significance through price, scarcity, ownership, and collective belief. The name Miles Veblen refers to the Veblen good, an economic phenomenon in which demand for certain goods may increase as their price rises. Veblen extends this paradox into the field of art, where objects made from relatively inexpensive materials can acquire extraordinary valuations. Authorship and scarcity play a role, as do provenance, institutional recognition, previous transactions, and the confidence of the market. Rather than attempting to determine whether such valuations are justified, Veblen examines how they become credible. Veblen established Capitalist Expressionism as a framework for this investigation. Taking capitalism as both subject and material, the movement brings currencies, commodities, valuations, financial events, and systems of exchange into the language of painting. The work is neither explicitly celebratory nor condemnatory. Instead, Veblen focuses on moments when economic behavior becomes exaggerated enough to expose the structures of belief beneath it. Price frequently becomes part of the composition itself. In a continuing series of paintings, Veblen divides the canvas into measured grids and assigns a monetary value to each unit of surface area. The dimensions of the painting consequently produce its stated price, imposing mathematical logic on something ordinarily valued through subjective judgment and market consensus. Image, measurement, and valuation become inseparable. The art market occupies a central position within Veblen’s practice. A painting does not acquire its market value in isolation. Its position can be shaped by collectors and dealers, galleries and museums, provenance, previous transactions, scarcity, and cultural recognition. Veblen is particularly interested in the distinction between assigning an artwork a value and creating a market capable of realizing it. Veblen extends this investigation beyond the studio through an ongoing series of releases in which original paintings become accessible to individuals both within and outside the established art world. Accompanied by documentation and authentication, the works may carry substantial artist-assigned valuations. Once released, however, Veblen relinquishes control over what happens next. A painting may be kept, sold, given away, presented to a gallery, submitted to auction, or destroyed. Circulation therefore becomes part of the work itself. A painting obtained without purchase may possess documented authorship, provenance, and a stated value while remaining outside the networks capable of supporting that valuation. Every subsequent offer, refusal, sale, exhibition, and change of ownership contributes to its history. The physical object may remain unchanged while its economic and cultural position changes around it. Veblen’s anonymity extends the same investigation to the figure of the artist. Biography and public personality are largely removed from the work’s circulation. Miles Veblen is encountered instead through the paintings, the ideas they contain, the transactions surrounding them, and the histories they accumulate. Across Capitalist Expressionism, Veblen examines how value is created, assigned, challenged, protected, and transferred. For Veblen, the question is not simply what an artwork is worth, but what must happen before enough people agree that it is worth it.