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In this sense, many contractual promises from artists concerning what the com missioned artwork will look like must be treated with caution if ^ commission is an undefined one and the outcome is not prescrib ^ Furthermore, given that commissions are leaps of faith on the P ^ of artist and commissioner, and the artwork (unlike a work of des % can often turn out differently from how it started, there is somet 1 inherently unappealing about a commissioner relying upon the ^ that is, the contract) to resolve what is in effect an aesthetic dispu ^ is also highly unlikely that a court would order an artist to comp e commission, although on rare occasions it may award damageS e artist to compensate the commissioning client.
The right to inspect an artwork is usually coupled with a right to enable the commissioning client to withhold the payment of further instalments if the commission is not developing in the manner agreed or in the determined time.
The commissioning client may also reserve the right to suggest certain changes to the construction or even appearance of the artwork - for example, for reasons of health and safety - but this should be, and generally is, a limited right.
The contract must deal either with the artist's fee or the sale price of the work, if the commissioning client is purchasing the commission from the artist.
This way the commissioning client has greater control over his or her money and limits any loss should the artist default and not produce the work.
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