NEW YORK — A piece of conceptual art consisting of a simple banana, duct-taped to a wall, sold for $6.2 million at an auction in New York on Wednesday, with the winning bid coming from a prominent cryptocurrency entrepreneur.

Comedian, by Italian artist Maurizio Cattelan, was a phenomenon when it debuted in 2019 at Art Basel Miami Beach, as festival-goers tried to make out whether the single yellow piece of fruit affixed to a white wall with silver duct tape was a joke or cheeky commentary on questionable standards among art collectors. At one point, another artist took the banana off the wall and ate it.

The piece attracted so much attention that it had to be withdrawn from view. But three editions sold for between $120,000 and $150,000, according to the gallery handling sales at the time.

Five years later, Justin Sun, founder of cryptocurrency platform TRON, has now paid more than 40 times that higher price point at the Sotheby’s auction. Or, more accurately, Sun purchased a certificate of authenticity that gives him the authority to duct-tape a banana to a wall and call it Comedian.

The piece attracted heavy attention at the busy auction at Sotheby’s, with attendees in the crowded room holding up phones to take photos as two handlers wearing white gloves stood at both sides of the banana.

Bidding started at $800,000 and within minutes shot up to $2 million, then $3 million, then $4 million, and higher, as the auctioneer, Oliver Barker, joked “Don’t let it slip away.”

“Don’t miss this opportunity,” Barker said. “These are words I’ve never thought I’d say: Five million dollars for a banana.”

The final hammer price announced in the room was $5.2 million, which didn’t include the about $1 million in auction house fees, paid by the buyer.

In a statement, Sun said the piece “represents a cultural phenomenon that bridges the worlds of art, memes, and the cryptocurrency community.” But he said the latest version of Comedian won’t last long.

“Additionally, in the coming days, I will personally eat the banana as part of this unique artistic experience, honoring its place in both art history and popular culture,” Sun said.

Sotheby’s calls Cattelan “among Contemporary Art’s most brilliant provocateurs.”

“He has persistently disrupted the art world’s status quo in meaningful, irreverent, and often controversial ways,” the auction house said in a description of Comedian.

The sale came a day after a painting by the Belgian surrealist René Magritte sold for $121.2 million, a record for the artist, at a separate auction.

The Empire of Light, an eerie nighttime streetscape below a pale blue daytime sky, sold Tuesday as part of Christie’s sale of the collection of interior designer Mica Ertegun, who died last year at age 97.

The sale lifts Magritte into the ranks of artists whose works have gone for more than $100 million at auction. Magritte is the 16th member of the club, which also includes Leonardo da Vinci, Pablo Picasso and Andy Warhol, according to the market analyst firm Artprice.

The Empire of Light, executed in 1954, was one of 17 versions of the same scene that Magritte painted in oil. Marc Porter, chairman of Christie’s Americas, called the sale “a historic moment in our sale room.”

The $121.2 million price included the auction house’s fees. The buyer was a telephone bidder whose identity was not disclosed.

Linda Hsiao was standing at a weathered work table inside her ceramics studio in Altadena. It was the day after Halloween, and her two children, Saben Taylor, 5, and Wawona Hsiao, 3, worked alongside her, hand-sculpting clay vessels as wild as a child’s imagination. Like Saben’s handprints in the concrete patio outside the studio, Hsiao’s own wildly creative imprint is clear in the whimsical vessels that line the shelves of the former two-car garage: from long-beaked toucan pitchers and owl juicers to Japanese daruma wishing dolls and Venus of Willendorf lady tiki cups.

“I’ve always had a weird imagination,” Hsiao said as she continued to work on an emerging large-scale vase. “I like the idea of creating mythical creatures that are a hybrid. They are ambiguous and not quite what you would assume. I wish they existed.”

“Are we going to school today?” Saben asked.

“Yes,” Hsiao replied, to his disappointment.

“They know I enjoy what I do,” Hsiao said of her children and working from home.

“Many of my vessels are inspired by my kids,” Hsiao said after Saben and Wawona left for school with their father, architect Kagan Taylor. “I feel like I’m constantly being filled … and emptied.”

Hsiao grew up in Laguna Hills, where her parents, Taiwanese immigrants, ran a farm specializing in Chinese fruits and vegetables such as bok choy and bamboo shoots. Her proximity to the ocean and their farm inspired her love of nature, which she describes as “a leading force” in her life. Looking back, she laughs as she recalls explaining to her elementary school teacher that “watermelons were not just red, but yellow too.” This love for nature is evident in her ceramics, which often feature elements of the natural world.

From a young age, Hsiao, now 42, was drawn to working with her hands and taking art and sculpting classes. Her parents wanted to support her and sent her to a summer program at Parsons School of Design in New York City as a teenager. “My parents thought, ‘That’ll get New York out of her system,’” she said with a chuckle. But it only fueled her passion further.

Hsiao takes holiday ornaments out of her kiln in her studio.

Whimsical ceramic creatures are designed to hold birthday candles.

After high school, Hsiao attended Pratt Institute in Brooklyn, where she studied industrial design. Following her graduation in 2004, she dedicated nearly a decade to designing eyewear, often spending 12 hours a day in front of a computer. This intense focus left her feeling “dizzy” and craving a more hands-on creative outlet.

So she joined a few community studios in Brooklyn and started doing ceramics. However, living in New York was hard, and she missed gardening and the easy access to nature in California.

After nine years, she moved back to California, where she took ceramics classes at Saddleback College and Glendale Community College at night while freelancing — designing everything from eyewear to jewelry for big brands to snowboarding gear — during the day.

A hand-building class with ceramics artist and teacher Biliana Popova at Glendale Community College changed her career path. “I didn’t take to wheel throwing because I didn’t want things to be perfectly symmetrical,” Hsiao said. “I always wanted to manipulate my forms and change them. My hands always wanted to sculpt. After I took a hand-building class, I never looked back.”

“I always wanted to manipulate my forms and change them,” Hsiao said. “My hands always wanted to sculpt.”

Hsiao’s ceramics are sweet and quirky — tiki cups, Japanese daruma wishing dolls, tiny creatures and bird pitchers and creamers.

Later, after she met her husband — and before they had children — the couple collaborated on a series of handmade wooden baby rattles they sold as part of Knotwork LA, and she began to do ceramics out of their home in Highland Park. (They have temporarily stopped making the rattles but hope to re-stock them again as the kids get older.)

“Knotwork LA was created as an outlet to identify the work we do in our spare time,” she said. “Precious pieces of wood saved from other projects or found while hiking, ideas that came to us in the middle of the night and a desire to create beautiful, useful things.” After juggling freelance work and producing ceramics in the evenings and on weekends for 10 years, she decided to take a leap of faith and do ceramics full-time in 2016.

She started with an order of more than 800 plates and dishes for Curtis Stone’s restaurant, Gwen, in Hollywood.

Since then, her studio has evolved as her work has become more sculptural, and her inventory has become more broad.

Ceramic bird pitchers are inspired by nature.

A completed ceramic bird pitcher in blue.

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Hsiao’s handmade ceramics and figurines, many of which she cuts out using a cardboard template after rolling the clay flat with a slab roller, exhibit a playful style that is thoroughly her own. “It’s kind of like sewing,” she said of using patterns. “I cut them out with a knife and mold and sculpt them afterward.”

Her works are filled with whimsy and joy, including a collection of platters and plates featuring inlaid porcelain flowers, vaguely defined creatures that hold birthday candles, penguin pitchers and buddhas. Although she has made lamps, she prefers to focus on affordable goods that can go straight into someone’s home for them to enjoy. “I like having a price point that is somewhat attainable for most people,” she said. “Lamps are expensive.”

Her dream was always to have a studio at home, invest in a kiln and save money on studio expenses. After purchasing their first home in 2020, the couple spent eight months redoing the garage, which had a collapsed roof, last year. The studio is now an artist’s dream, with two kilns, ample space to work, storage and a dedicated area where Hsiao can pack her orders.

“I was using our bedroom as our showroom before,” she said. “It was rough.”

Sketches of empty vessels hang on the wall of Hsiao’s studio.

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“The first thing my mom bought me for my studio was a slab roller,” Hsiao said. “She said, ‘I don’t want you to hurt yourself. This is my gift for your studio.’”

But even though Hsiao is working from home most days, meeting people in person has always been a highlight of having a small business. In order to do even more of that, she, Heather Praun of Plant Material and designer Bianca D’Amico of Chaparral Studio launched a semi-annual craft show at Plant Material’s Altadena location. They’ve held “about five” of them so far; the next takes place Dec. 14 and 15. “The whole community shows up,” she said, smiling. “I’ve been lucky enough to participate in some of the most vibrant collections of makers throughout the years and made friends with many. It was a delight after moving to Altadena to find that so many of the makers have found themselves here raising families, going to the same schools and parks.”

“How she prioritizes creativity in all aspects of her life has always inspired me,” D’Amico said. “There is endless thought and time poured into her work, but she exercises that part of herself in every aspect of her life. Even dinner [at] home has a crafty element: food tossed colorfully into various homemade bowls, the kids always helping make the food and nothing needs to match; it’s all about the time spent together. There is a sense that life is happening NOW, and she is engrossed in the moment.”

“People can see that my work is hand built,” Hsiao said.

Hsiao said that balancing a small business in the backyard can be challenging while raising two young children, but she appreciates that she can return to the studio after she has put the kids to bed. “I’ve learned to love the quiet of working in the evenings, [and I ] try to take breaks on the weekends and fully spend time with the kids,” she said. “The balance is tough, but my kids see me trying to sneak in work since my studio is at home and always ask to help. They know I enjoy what I do, and I have no doubt they will spend more time with me in my studio as they get older.”

Despite feeling like an empty vessel sometimes — “much of it feels like there are never enough hours in the day,” she said — Hsiao knows time spent with her kids is fleeting. As she figures out what work/life balance means for her family, she often goes back to something artist and mother Megan Whitmarsh shared with her: “You will never regret all the work you didn’t make while your children were little because you decided to be a present and loving parent.”

In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating and producing original products in Los Angeles.

Paul Mescal plays Lucius in Gladiator II.

Aidan Monaghan/Paramount Pictures

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Aidan Monaghan/Paramount Pictures

Paul Mescal plays Lucius in Gladiator II.

Aidan Monaghan/Paramount Pictures

The new film Gladiator II is a sequel to Gladiator, Oscar-winning swords-and-sandals blockbuster that starred Russell Crowe. It tells a similar tale — a soldier, sold into slavery, becomes a gladiator in the Roman arena. This time out, it’s Paul Mescal whose prowess in the coliseum earns him fame that threatens Rome’s tyrannical rulers. Directed by Ridley Scott, the film also stars Pedro Pascal and Denzel Washington.

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The pandemic’s babies, toddlers and preschoolers are now school-age, and the impact on them is becoming increasingly clear: Many are showing signs of being academically and developmentally behind.

Interviews with more than two dozen teachers, pediatricians and early childhood experts depicted a generation less likely to have age-appropriate skills — to be able to hold a pencil, communicate their needs, identify shapes and letters, manage their emotions or solve problems with peers.

A variety of scientific evidence has also found that the pandemic seems to have affected some young children’s early development. Boys were more affected than girls, studies have found.

“I definitely think children born then have had developmental challenges compared to prior years,” said Dr. Jaime Peterson, a pediatrician at Oregon Health and Science University, whose research is on kindergarten readiness. “We asked them to wear masks, not see adults, not play with kids. We really severed those interactions, and you don’t get that time back for kids.”

The pandemic’s effect on older children — who were sent home during school closures, and lost significant ground in math and reading — has been well documented. But the impact on the youngest children is in some ways surprising: They were not in formal school when the pandemic began, and at an age when children spend a lot of time at home anyway.

The early years, though, are most critical for brain development. Researchers said several aspects of the pandemic affected young children — parental stress, less exposure to people, lower preschool attendance, more time on screens and less time playing.

Yet because their brains are developing so rapidly, they are also well positioned to catch up, experts said.

The youngest children represent “a pandemic tsunami” headed for the American education system, said Joel Ryan, who works with a network of Head Start and state preschool centers in Washington State, where he has seen an increase in speech delays and behavioral problems.

Not every young child is showing delays. Children at schools that are mostly Black or Hispanic or where most families have lower incomes are the most behind, according to data released Monday by Curriculum Associates, whose tests are given in thousands of U.S. schools. Students from higher-income families are more on pace with historical trends.

But “most, if not all, young students were impacted academically to some degree,” said Kristen Huff, vice president for assessment and research at Curriculum Associates.

Recovery is possible, experts said, though young children have not been a main focus of $122 billion in federal aid distributed to school districts to help students recover.

“We 100 percent have the tools to help kids and families recover,” said Catherine Monk, a clinical psychologist and professor at Columbia, and a chair of a research project on mothers and babies in the pandemic. “But do we know how to distribute, in a fair way, access to the services they need?”

What’s different now?

Brook Allen, in Martin, Tenn., has taught kindergarten for 11 years. This year, for the first time, she said, several students could barely speak, several were not toilet trained, and several did not have the fine motor skills to hold a pencil.

Children don’t engage in imaginative play or seek out other children the way they used to, said Michaela Frederick, a pre-K teacher for students with learning delays in Sharon, Tenn. She’s had to replace small building materials in her classroom with big soft blocks because students’ fine motor skills weren’t developed enough to manipulate them.

Perhaps the biggest difference Lissa O’Rourke has noticed among her preschoolers in St. Augustine, Fla., has been their inability to regulate their emotions: “It was knocking over chairs, it was throwing things, it was hitting their peers, hitting their teachers.”

Data from schools underscores what early childhood professionals have noticed.

Children who just finished second grade, who were as young as 3 or 4 when the pandemic began, remain behind children the same age prepandemic, particularly in math, according to the new Curriculum Associates data. Of particular concern, the students who are the furthest behind are making the least progress catching up.

The youngest students’ performance is “in stark contrast” to older elementary school children, who have caught up much more, the researchers said. The new analysis examined testing data from about four million children, with cohorts before and after the pandemic.

Data from Cincinnati Public Schools is another example: Just 28 percent of kindergarten students began this school year prepared, down from 36 percent before the pandemic, according to research from Cincinnati Children’s Hospital.

How did this happen?

One explanation for young children’s struggles, childhood development experts say, is parental stress during the pandemic.

A baby who is exposed to more stress will show more activation on brain imaging scans in “the parts of that baby’s brain that focus on fear and focus on aggression,” said Rahil D. Briggs, a child psychologist with Zero to Three, a nonprofit that focuses on early childhood. That leaves less energy for parts of the brain focused on language, exploration and learning, she said.

During lockdowns, children also spent less time overhearing adult interactions that exposed them to new language, like at the grocery store or the library. And they spent less time playing with other children.

Kelsey Schnur, 32, of Sharpsville, Pa., pulled her daughter, Finley, from child care during the pandemic. Finley, then a toddler, colored, did puzzles and read books at home.

But when she finally enrolled in preschool, she struggled to adjust, her mother said. She was diagnosed with separation anxiety and selective mutism.

“It was very eye-opening to see,” said Ms. Schnur, who works in early childhood education. “They can have all of the education experiences and knowledge, but that socialization is so key.”

Preschool attendance can significantly boost kindergarten preparedness, research has found. But in many states, preschool attendance is still below prepandemic levels. Survey data suggests low-income families have not returned at the same rate as higher-income families.

“I have never had such a small class,” said Analilia Sanchez, who had nine children in her preschool class in El Paso this year. She typically has at least 16. “I think they got used to having them at home — that fear of being around the other kids, the germs.”

Time on screens also spiked during the pandemic — as parents juggled work and children cooped up at home — and screen time stayed up after lockdowns ended. Many teachers and early childhood experts believe this affected children’s attention spans and fine motor skills. Long periods of screen time have been associated with developmental delays.

Heidi Tringali, a pediatric occupational therapist in Charlotte, N.C., said she and her colleagues are seeing many more families contact them with children who don’t fit into typical diagnoses.

She is seeing “visual problems, core strength, social skills, attention — all the deficits,” she said. “We really see the difference in them not being out playing.”

Can children catch up?

It’s too early to know whether young children will experience long-term effects from the pandemic, but researchers say there are reasons to be optimistic.

“It is absolutely possible to catch up, if we catch things early,” said Dr. Dani Dumitriu, a pediatrician and neuroscientist at Columbia and chair of the study on pandemic newborns. “There is nothing deterministic about a brain at six months.”

There may also have been benefits to being young in the pandemic, she and others said, like increased resiliency and more time with family.

Some places have invested in programs to support young children, like a Tennessee district that is doubling the number of teaching assistants in kindergarten classrooms next school year and adding a preschool class for students needing extra support.

Oregon used some federal pandemic aid money to start a program to help prepare children and parents for kindergarten the summer before.

For many students, simply being in school is the first step.

Sarrah Hovis, a preschool teacher in Roseville, Mich., has seen plenty of the pandemic’s impact in her classroom. Some children can’t open a bag of chips, because they lack finger strength. More of her students are missing many days of school, a national problem since the pandemic.

But she has also seen great progress. By the end of this year, some of her students were counting to 100, and even adding and subtracting.

“If the kids come to school,” she said, “they do learn.”