Investing Math

In March 2006, the world’s richest men sipped champagne in an opulent New York hotel. They were preparing to compete in a poker tournament with ­million-dollar stakes. At the card table that night was Peter Muller, who managed a fabulously successful hedge fund called PDT. With him was Ken Griffin, who was the tough-as-nails head of Citadel Investment Group. There, too, were Cliff Asness, the sharp-tongued, mercurial founder of the hedge fund AQR Capital Management, and Boaz Weinstein, chess “life master” and king of the credit-default swap.

In 2021, when the gavel fell at Christie’s on the sale of Mike Winkelmann’s Everydays series—a compilation of 5,000 digital artworks—it made a thunderous announcement: Non-fungible tokens had arrived. The ludicrous world of CryptoKitties and Bored Apes had just produced a piece of art worth $69.3 million (at least according to the highest bidder). On that day, the traditional art market—the largest unregulated market in the world—put its stamp of approval on a very new and carnivalesque digital reality. But what did it mean for these two worlds to collide?

In March 2006, the world’s richest men sipped champagne in an opulent New York hotel. They were preparing to compete in a poker tournament with ­million-dollar stakes. At the card table that night was Peter Muller, who managed a fabulously successful hedge fund called PDT. With him was Ken Griffin, who was the tough-as-nails head of Citadel Investment Group. There, too, were Cliff Asness, the sharp-tongued, mercurial founder of the hedge fund AQR Capital Management, and Boaz Weinstein, chess “life master” and king of the credit-default swap.