I really don't think that Mona Lisa example is correct. Maybe I misunderstand NFTs, but wouldn't it be more like a printmaker who can make as many copies as desired, but the museum sells something like the Artist's Proof and documents the sale in an official newsletter that goes out to all members? Yes, everyone else has a print or a poster version, but only one buyer has the Artist's Proof and can prove its provenan…
NFTs don't necessarily represent ownership of the underlying asset. They're like minting a commemorative coin celebrating the asset, and only minting a single coin. The coin does not represent ownership of the asset. It's just...a coin. A token. Supposedly, the uniqueness gives it value, but if I decide to record a single fart, that fart is unique, but the uniqueness does not inherently create value. An NFT for the M…
It's not even “the NFT” — anyone can create a new NFT for the same image on a different blockchain or make a 1 pixel modification and create a new NFT for something visually indistinguishable. You could imagine an art museum making something potentially harder to clone but at that point it's like a donor buying a new frame or putting a bench in front of it, and they don't have a reason to give money to the blockchain grifters when the only value comes from the reputation of a single trusted party.
> Anyone buying NFTs either doesn't know what they're actually paying for, or thinks they're going to be able to find a greater fool who will eventually be willing to pay more.
My assumption is that most of it is simply an attempt to make cryptocurrency look valuable. Nobody has a requirement to use it so they need people to think that an NFT is an investment to get new marks buying Ethereum. Sell it to your buddy, make sure every reporter in the world hears the transaction price in hard currency values, and either write that off as marketing cost or quietly have your buddy transfer the tokens back later minus a commission.