“…While many CI products are readily disseminated across the world through extended channels of consumption, specific elements of CI consumption and much of CI production is disproportionally clustered in a limited number of major metropolitan areas (Lorenzen et al., 2008; Pratt, 2012; A. J. Scott, 2004). For example, when looking at the ‘global art centre index’ developed by Caset and Derudder (2017) (for alternatives, see Díez‐Pisonero et al., 2018; Skórska & Kloosterman, 2012) 1 , which ranks cities in terms of their global centrality in field‐configuring cultural events such as festivals, biennials and fairs, it can be noted that many of the leading metropolitan areas are the household names appearing atop world city rankings such as the one put together by the Globalisation and World Cities research network (see Table 1; Derudder & Taylor, 2018). Both rankings obviously present specific and narrow takes on ‘culture’ and ‘business networks’ alike, but it is nonetheless clear that cities such as New York, London, Tokyo, Beijing, Paris, Shanghai and Los Angeles are globally central in both of these.…”