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Scholars of the theory of surplus value as well as producers of art, critics and curators have analyzed the distorting effect of the commodification of art about the creation and behavior of many artists. They also recognize that among the consequences of the corresponding commercial sale of the cultural value, one can find: the tendency to break away from the vital context, closed eyes at dissimilar problems and human dramas, enlistment almost exclusively in aesthetic ways that are legitimized by the financial power that use them, see the history and tradition as obstacles influencing a “loser fate" and live within the market as if it were a useful and satisfactory "adopted homeland".
Thus, artists who are immersed in this pragmatic and neutralizer thread of the production and projection of values ​​consistent with market demand, often replace solidarity principles with the logic of the private "enterprise", where feelings and reasoning or complex imaginary visions allow for temporary canons that ensure the manufacture of products somehow of a simple sense, with international acceptance. Then, the interest that opens the way to further profitable existence and sacralization in institutions and events governed by the "mystique of the merchandise”, becomes denationalizing condition within a sphere that has the trade as the target for its existential coordinates.
Living alone on the grounds of art, behaving according to a sneaky sense of autonomy that hides the psychological and professional dependence with  respect of the dictates of 'cultural capital', obviating the identity ties that connect the artist with his countrymen, feel active and functional participant of consumer archetypes, scheming collusion with businessmen and creators of speculation that do not hide their concept of art as a commodity investment, and experience the pride of being chosen for the constant commercial manipulation, are attributes and attitudes of those who - anywhere in the world, and even in Cuba - act as citizens of that peculiar "nation" without borders that has become the trans-nationalized art market..