Deletion of Garric Simonsen

Comment: Spokane isn't New York so how do we evaluate the artist in the context of his impact on the art community that he's part of? Does this change the evaluation criteria at all, i.e. how do we look at being part of an exhibit http://www.bellevuearts.org/exhibitions/bam_biennial_2014.htmlhttp://www.seattleweekly.com/home/957147-129/a-walk-through-the-wood-at at the largest regional museum on Eastside (King County, Washington)|Seattle's Eastside (population roughly equal to the city of Atlanta)? Or for that matter being featured on the cover of a regional arts magazine https://books.google.com/books?id=ajhLLtxMNTEC&pg=PA1? Or being one of two artists reviewed in this weekly http://www.inlander.com/spokane/outsider-artists/Content?oid=2132332 from his hometown, and again http://www.inlander.com/spokane/artful-soles/Content?oid=2348058 here (according to which he's also a small college faculty member)? Seems like issues of |systemic bias preferring artists from NYC, LA or other large arts centers arise here. In other words, is it sound to insist on "work in a major museum" for an artist whose work is specifically about the unique nature of his own region—in this case the Northwest's cultural/environmental heritage reflected in Simonsen's use of wood materials and images of logging? To point to a specific risk of setting a precedent I'm not comfortable with: does endorsing this reasoning doom any future hope of profiling one of the Quinault Indian Quinault people#Basketry and weaving|master craftspeople because they haven't had a solo show in a major museum
Stance: comment
Cited policy: Wikipedia:Systemic bias (WP:BIAS)