In *Monet is money*, Ted Escott frames the art world as a place where reputation, desire, and profit press against one another. The title points to the commercial power attached to Monet's name, and the available bibliographic record identifies the work as a French-language, novel-length crime narrative published by Métailié. Its premise seems to turn on the tension between cultural prestige and monetary value: paintings are not only aesthetic objects but assets, targets, and instruments of deception. The book's Métailié context suggests a noir or crime-fiction treatment of collecting, valuation, and the motives that arise when art becomes an investment. Without publisher copy in the record, the work is best described cautiously as a crime novel using the art market as its setting rather than as an art-historical study.