The magnet’s limited edition status—only 25 copies were produced—creates a built‑in scarcity that fuels a secondary market on platforms like Avito and Instagram. While Babko has expressed ambivalence toward the commodification of her work, she acknowledges that the magnet’s collectibility allows her to sustain a practice that would otherwise rely on intermittent gallery sales. The tension between artistic intent and market forces is a recurring theme in contemporary Russian art, mirroring debates that emerged in the 1990s surrounding “art as product.”
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Because of its , the mouse can also hold lightweight metal tools—think a tiny screwdriver or a brass compass—making it a subtle, yet functional, toolbox accessory.
All 25 units sold out within two weeks of the pop‑up, with secondary‑market resale prices ranging from 2.5 to 4 times the original price. While Babko has not actively encouraged resale, the magnet’s demand underscores the growing appetite for “collectible art objects” among younger Russian collectors who seek tangible connections to cultural narratives without the prohibitive cost of large‑scale paintings.
