The Camden Market Free Art Man project works on the premise that FREE ART FREES ART and observes what might appear to be, an inverse law of supply and demand.
Here’s a direct quote from the video above that Ron Throop 
“Over supply as much as you can when there’s no demand.”
Edition numbering’s key as it’s not the just the free art supply that matters if the later works get progressively less valuable. It’s the supply of opportunity to get, specifically, the early free art. Or in the case of numbered editions, the lower numbers. By numbering every series of my artworks of, otherwise, indistinguishable value, I’m reducing the supply of opportunity to get maximum value from taking a free artwork with every artwork I produce and give away. The extent to, and speed of, which I create an oversupply of my art is the extent to which the window of opportunity to get value decreases. If you want a low number of any series, there’s not much supply of opportunity to get one if I’m constantly producing and giving them away. Another quote from the above video:
“I’m numbering them so there’s a bit of immediacy, so people aren’t going to walk past and think ‘I’ll get one next week.’
The low numbers won’t be here next week.
The Heckel’s Horse Jr. paintings aren’t numbered but are all recorded, so can be retrospectively put into a date order, assigned an edition number and that ledger, Bitcoin style, be kept publicly online to prevent any future tampering. That public ledger being my website, the FREE ART FREES ART blockchain. The same goes for the videos that accompany every THE CAMDEN MARKET FREE ART MAN event, date stamped incorruptible public ledgers.
Doing all this when there’s no demand gets the most financially valuable work into the hands of those who value it artistically more than the dreaded collectors. It’s all the opposite of the current gallery system but, I believe, is the future of art. What Napster did for music, and to record labels, is what I want FREE ART FREES ART to do for art, and to galleries.
