I was not speaking of visual art at all, other than tongue in cheek. I was speaking specifically to the art of building fine violins, guitars, cellos and such, although it applies to art in spades.
Unfortunately, for those choosing to spend their Texas oil money on a $45 MILLION Strad, they would be better off choosing a modern, high end piece that costs far, far, far less because in double blind tests, top players on earth discovered they liked the newer ones more for both sound and playability.
Fortunately, they would be paying for hyperbole and rarity more than anything, and that does have a price, and in this case a huge one, just like much fine art. In the case of the Strad, I'm sticking with hyperbolec acid, first because it's true, and more than that, I made the term up, and I'm sticking with it, I think it's a winner...
Someone in the biz said the reason no one has been able to find out exactly what it is that makes the Strad sound so awesome, varnish, water soaked, piss in varnish (made that one up) is because nothing does, they don't sound or play any better than any other top of the line piece, even if made a few days ago. So far, tests have proven this to be true, and actually a bit the opposite, they sound and play a bit worse.
An interesting insight I recall reading, people tend to think the Strad, if sounding a little less than anticipated, it's the players fault as he is not up to the task. Can't be the Strad, must be me.
Same situation with a comparable top end piece, and it is "what do you expect, it's not like it's a Strad"
I think this syndrome might come into play a bit with power tools, but damn, sure don't want to get anyone's panty's in bunch...