With regards to my own practice, Control, Alt, Delete was the first of my work that I was happy to make available for sale, in Limited Editions of 11.
I understand that I have no control over the Latent Value of those prints once I’ve sold them, but because I am producing Limited Editions, I can work with some of the temporal aspects of Latent Value Emergence. By increasing the price of those Editions as they sell out, or by holding some of them back for future sale, I am able to insure myself against the Latency Problem. And, if the process of Latent Value Emergence reveals itself in terms of an increase in value for the prints, then I will have achieved a personal, partial success in mitigating the problem.
For Artist’s not making limited editions, the problem is a more difficult one. If an Artist sells a one-off like an oil painting outright, they still retain copyright of it, so it is possible to create a revenue stream from future use / editions of it. But typically, copyright law does not offer the same ease of protection against the Latency Problem that it affords writers, musicians and film-makers – because the majority of Fine Artists make one-offs.
Asides from duplicates and editions, another way of negotiating the Latency Problem is to lease a one-off Artwork until the Latent Value Emergence process works itself through.