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The purpose of this study is to apply reciprocity theory to understand how hypothetical work location decision outcomes and individual differences affect employees’ trust in their employer and willingness to engage in organizational citizenship behaviors (OCBs).

Three vignettes were used to manipulate work location decision outcomes and hypotheses were tested using Hayes’ (2008) PROCESS in a sample of 378 adults who worked in the USA during the first six months of the COVID-19 pandemic.

Participants reported greater OCB intentions through higher trust in the employer when given their hypothetical choice of work location compared to being assigned one, and when assigned to their preferred compared to nonpreferred location. External work locus of control (EWLC) moderated the effects of work location on trust in the employer. The relationship between trust and OCB intentions was weakened when employees perceived greater difficulty in leaving their jobs.

This study examined the roles of felt reciprocity, individual differences, choice and hypothetically receiving one’s preferred work location, on trust in the employer and willingness to engage in OCBs during the COVID-19 pandemic.

The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.

This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.

It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.

The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.

The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.

This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.

The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.