Epstein in the Shadow of de Sade

Ed Simon on how the intellectual elite absolves abusers of their crimes, Marigold Santos's loving epiphytes, and Damien Davis in conversation with Hakim Bishara.

Among the most mind-bending revelations of the recent trove of Epstein files is not only who was implicated and to what extent, but the mental gymnastics performed by the so-called tastemakers of our day. Years after his conviction, leading figures in the arts, politics, and business went to incomprehensible lengths to paint Epstein as a misunderstood and even virtuously transgressive character rather than what he really was — a depraved criminal, a serial abuser, and not especially intellectually gifted.

In an urgent read today, Ed Simon traces the mechanisms that normalized Epstein's immorality to the era of Marquis de Sade, who was similarly absolved by history in a web of entangled power and wealth. In a related story, Staff Writer Rhea Nayyar reports on a recent deposition by billionaire and arts patron Les Wexner, whose payments to Jeffrey Epstein may have facilitated his crimes, lawmakers say.

For a breath of fresher air, and a much-needed escape from the art world's rot, join us on March 2 for an online conversation between artist and contributor Damien Davis and Hyperallergic Editor-in-Chief Hakim Bishara. The event is for Hyperallergic members only; subscribe today to join.

—Valentina Di Liscia, senior editor


Jeffrey Epstein had a lot in common with the Marquis de Sade. (edit Shari Flores/Hyperallergic)

The Marquis de Sade of the Upper East Side

As Jeffrey Epstein ran a sex trafficking ring the scale of which is just beginning to be understood, he ingratiated himself with “intellectuals” and other elites who were all too happy to legitimize his deviance and crimes as a kind of virtuous hedonism — not unlike the Marquis de Sade, argues Ed Simon. “In the originator of Sadism, we encounter an infernal figure who, beyond even the facts of his own perversion and criminality, intimated a cruel and oppressive politics that were seeded in aristocracy, tended in capitalism, and are now harvested in fascism,” Simon writes.


An undated photo of Jeffrey Epstein (left), Les Wexner (center), and a redacted woman accompanied Wexner’s note in Epstein’s 50th birthday book from 2003. (via House Oversight Committee)

Les Wexner Claims Naivety in Epstein Deposition

The billionaire retail tycoon continues to deny any knowledge of Jeffrey Epstein’s sex crimes, but not everyone is buying it. | Rhea Nayyar


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Photo of Damien Davis by Ricky Day for Ricky Day Studio

Keeping a Critical Eye on the Art World With Damien Davis

Damien Davis, whose incisive writing for Hyperallergic probes longstanding power imbalances in the art world, joins Editor-in-Chief Hakim Bishara for an online conversation on March 2. Become a member today to join.


From Our Critics

Marigold Santos Takes Root
Installation view of Marigold Santos, “Nacre” (2025) (photo courtesy Patel Brown gallery)

Marigold Santos Takes Root

She uses epiphytes — plants that grow on other plants without harming them — as a framework for the expansive ways diasporas form. | Neil Price


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Lunar New Year celebration at the Metropolitan Museum of Art in New York (photo by Filip Wolak, courtesy the Metropolitan Museum of Art)

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Member Comment

Victoria Hamlin on Valentina Di Liscia’s “University of North Texas Students Withdraw Thesis Shows, Citing Censorship”:

Having just written an article about Victor “Marka27” Quiñónez for the Mexico Solidarity Project, I was happy to add an update about this show of support for this talented, brave artist by these students at University of North Texas (UNT). Thank you to the students, to Hyperallergic and most of all to Victor “Marka27” Quiñónez.

From the Archive

When Artists Are Too Old to Be “Emerging”
A viewer captures a photo of Felix Gonzalez-Torres’s “Untitled (Perfect Lovers)” (1987-1990). (photo by Harold Cunningham/Getty Images)

When Artists Are Too Old to Be “Emerging”

If the art world is serious about equity, it has to stop equating emergence with youth and start building structures that reflect the multiplicity of artistic timelines. | Damien Davis