sus
Moderator
This is the way that the entire project bbecomes primarily a language game—you spin a "conceptualization" of your work and people roll with it or they don't. More often, you have a small army of PR people—gallery interns, artworld journos who are friends of the artist—who do that spinning for them, create a narrative that gets traction.
Bourdieu talks about this a bit—he calls it "mutual admiration societies"—these tacit agreements people enter when scenes fold in on themselves, and everyone's friends with everyone else.