You may think you’re an Art World insider, but you might actually just be a sucker. Even if you’re among the over-educated elite, like psychiatrist Frasier Crane (Kelsey Grammer), you’re not immune to the rules of business. And after all, the Art World operates by these rules, too.
Having recently purchased a painting by “one of this country’s premier artists,” Martha Paxton (portrayed by actual interdisciplinary artist Rachel Rosenthal), Frasier plans a cocktail party as an excuse to meet her.
When Ms. Paxton finally arrives at the soirée, she is wearing a poncho, which she explains she never takes off at parties in order to avoid shaking hands with people. Frasier describes this as “delightfully eccentric,” but the message is clear: artists are hard for other people to relate to. In Ms. Paxton’s case, she’s intentionally aloof—when Frasier’s brother, Niles (David Hyde Pierce), offers his hand to her, she simply stares at it and smirks.
She is also bald, which further sets her apart from the other guests. Ms. Rosenthal shaved her head in real life and one can imagine this being a major reason for her being cast. After the party is over, Frasier’s friend Daphne (Jane Leeves) remarks, “I don’t think that woman bathes.” (Because artists are dirty, right, Daphne?)
Frasier clearly adores Ms. Paxton’s painting, “Elegy in Green,” and gushes his praise at her: “The way you insinuate the palette, but never lean on it, you’ve captured the zeitgeist of our generation!” He also refers to her as the “preeminent Neo-Fauvist of the 20th century,” although contemporary artists usually aren’t described in such specific art historical terms.
Frasier’s bubble of pride is quickly burst when Ms. Paxton announces she isn’t the artist who created his prized piece. “I never saw this painting before in my whole life!” she sneers. Humiliation ensues.
Determined to return the fraudulent work, Frasier heads straight to the gallery where he originally purchased it. He’s met by the gallery’s owner, Phillip Hayson (John Rubinstein), and his duo of robotic assistants, wearing all black, of course. Hayson is a real wheeler and dealer, and when Frasier brings up his complaint, Hayson attempts to distract him with white wine and brie, and by superficially agreeing with everything he says. In the end, Hayson refuses to give Frasier his money back, citing a strict “all sales final” policy. In response to Frasier’s protests, he says “Dr. Crane, if you ever find justice in this world, let me know, will ya?”
Frasier’s recourse is pure revenge: he plans to throw a brick through the gallery’s window. Although his brother, Niles, talks him out of it, Niles then carries out the vandalism, himself. As viewers, we are meant to share their catharsis, as we have been trained to hate the Art World as an impenetrable and ungenerous institution.
What’s striking about this rebuke is that Frasier Crane is not the “everyman” we usually see in this position—the regular folk who wouldn’t set foot in an art gallery. He is an insider, exposing the whole thing as a sham from within. And if this is how one of the club’s own members feels, it must truly be indefensible.