Gatekeeper, an up and coming magazine, aims to investigate the art market in all its entities, gaining insight into the complexities and functions of the art world. Editors, Lucy Alves and Natascha Ng, believe an ‘in-depth and exclusive understanding of the art market will help emerging artists gain access to it, question it and, ultimately, bargain their way to a healthier system.’ ‘We want to help create alternative ecosystems, rather than the elite commercial bubble that dominates the art market currently.’ The commercial art market is valued at $64.1 billion. However, with it being unregulated, the art market as a whole is impossible to pin down. It is infinite!! From the outside looking in, it is easy to mistake the art market as solely a playground for the rich. We see art collectors, dealers, and auction houses chasing the next trend, pawning treasured artist’s creations. The likes of Sotheby’s and Christie’s, who dominate the art world, solidify the idea that art is a luxury good. So, as it becomes a commodity, reflected by its monetary value, the symbolic influence and initial meaning of the work is lost. There becomes an elitist illusion that limits the trading of artwork exclusively to the wealthy. This presents creatives with a moral dilemma. Art is more than a commodity; it is a movement, it is an expression, it is power. Gatekeepers must not dictate art’s value. However, there is no doubt that commercial pressure impacts artists’ practices. The artworld is mapped around consumerism, which is something near impossible to avoid as a practising artist who needs to earn a living. Gatekeeper’s FIRST issue, centres around the theme ‘transaction’, unravelling artists’ personal experiences trading and selling work. The publication explores how artists tailor their work, to be a financially beneficial business venture, or go against the art market’s commercial bubble, exploring progressive economies.