Featured in Can Artists Use Their Sale Contracts to Game the System? 50 years ago, a manifesto by Seth Siegelaub reimagined what economic justice could look like in the arts Graphic for KADIST’s new Artist Contract, 2020. Courtesy: KADIST In March 1971, a broadside boldly labelled The Artist’s Reserved Rights Transfer and Sale Agreement rolled off an independent press in New York. Across the poster’s front was a manifesto by Seth Siegelaub, the innovative conceptual art curator-publisher and former dealer, outlining ‘some generally acknowledged inequities in the art world’. Its verso, drafted by the young lawyer Robert Projansky, contained 19 clauses in heavy-handed legalese promising to remedy those ills. Among the terms was the right for artists to refuse exhibitions of their work, the right to know who purchased it and, most controversially, the right to claim 15 percent of any resale profits, giving artists a voice in how their work is used and a share in its future value.