Exhibition back-planning for galleries: from D-90 to D+30

01D-90 to D-60: laying the foundations

Three months before the opening, the dealer must have validated with the artist the exhibition concept, the provisional list of works and the general presentation format. This consultation phase is crucial because it determines all subsequent stages. An artist who has not finalised their selection of works at D-90 jeopardises the entire schedule: production, transport, communication and scenography all depend on this fundamental decision.

Marian Goodman Gallery is known for imposing a structured working framework on its artists that fixes the broad lines of the exhibition at this stage. The dialogue between dealer and artist covers the number of works, formats, mediums, coherence of the proposition and any loans from private or institutional collections that require specific administrative procedures.

In parallel, the dealer commissions the exhibition text. The choice of author, whether an art critic, an independent curator or the dealer themselves, must be settled at D-90 because a quality text requires several weeks of research, writing and revision. Galerie Kamel Mennour engages recognised authors whose texts are published in the exhibition catalogue, which requires a commission placed sufficiently early to respect the editorial production schedule.

The exhibition's provisional budget must also be finalised at this stage. The main items are identified: production of works if the gallery contributes, transport, framing, insurance, printing of communication materials, opening costs and any fees for external scenography or technical providers.

02D-60 to D-45: launching production

Two months before the opening, works must be in production or already completed. The dealer monitors studio progress, exchanges regularly with the artist and anticipates potential delays. Artists working with complex materials or techniques, such as ceramics, foundry or large-format photographic printing, require particular follow-up because production lead times can exceed those of painting on canvas.

Transport must be ordered by D-60 at the latest, especially if works are coming from abroad. Art transport specialists such as Bovis, LP Art or Andre Chenue work on reservation and periods preceding major fairs are particularly busy. A shipment from the United States or Asia generally requires six to eight weeks of lead time, including conveyance, customs clearance and delivery.

Framing and hanging quotes must be validated. A dealer working with a professional framer must provide exact dimensions and technical specifications at least six weeks before the exhibition. Custom frames, protective Plexiglas, sculpture plinths and suspension devices require a fabrication lead time that cannot be compressed without compromising quality.

The scenography plan begins to crystallise. The dealer, often in consultation with the artist, defines the placement of works in the space, visitor circulation, lighting and any necessary modifications. Galerie Thaddaeus Ropac, whose spaces are large-scale, engages professional scenographers for its most ambitious exhibitions, while smaller galleries typically handle this work in-house.

03D-45 to D-21: intensifying communications

Six weeks before the opening, communication must ramp up. The press release is written, proofread and approved. Work visuals, professionally photographed in the studio or prepared from high-resolution digital files supplied by the artist, are selected and readied for distribution. Galerie Templon requires final visuals at least five weeks before the opening to allow its press office to send the dossier to journalists on schedule.

The invitation card is designed, printed and posted to key collectors and partners. Despite the increasing digitisation of communications, the physical invitation retains a symbolic impact that galleries most attentive to their image continue to cultivate. Galerie Lelong sends carefully designed invitation cards that reflect the aesthetic of each exhibition.

Press mailings target journalists and art critics at specialist publications, national dailies and online media. The press file must be segmented: a journalist at Le Monde or Liberation does not receive the same angle as a writer at Artpress or The Art Newspaper. Telephone or email follow-ups begin at D-21 for monthly publications whose deadlines fall several weeks before the print date.

Social media scheduling also begins at this stage. Progressive teasing, showing work details, studio views or artist quotes, builds anticipation without revealing the entire exhibition before the opening.

04D-21 to D-7: finalising the details

Three weeks before the opening, the dealer enters the intensive preparation phase. The opening guest list is finalised and electronic invitations are sent to supplement postal cards. The most important collectors receive a personal telephone call from the dealer to invite them and, if the exhibition includes works likely to interest them, to arrange a private preview.

Previews, organised in the hours or days preceding the public opening, are an essential sales tool. They allow the most engaged collectors to discover works in a calm setting and to make purchase decisions before the exhibition becomes accessible to all. Galerie Almine Rech organises highly targeted previews for its leading collectors, which enables significant sales to be secured before the opening itself.

The price list is prepared, printed and made available to gallery staff. Prices must be consistent with the artist's market, previous sales and the gallery's general positioning. A dealer who adjusts prices at the last minute, under pressure from the artist or a collector, risks destabilising the overall pricing framework.

The caterer for the opening is booked, hanging equipment is checked, work labels are prepared and wall texts are printed or applied.

05D-7 to D-Day: installation and opening

The final week is devoted to installing the exhibition. Works arrive, are unpacked, inspected for condition after transport, then hung according to the scenography plan. The dealer supervises the entire process and makes necessary adjustments: lighting that does not do justice to a canvas, spacing between two works that impairs reading, a hanging height that does not match the visitor's sightline.

On opening night, the dealer welcomes visitors, presents works, facilitates exchanges between artist and collectors and takes note of expressions of interest. The opening is not an end in itself but the beginning of the exhibition's active commercial phase. Options placed that evening must be confirmed in the days that follow.

06D+1 to D+30: making the most of the exhibition period

The weeks following the opening are often neglected by dealers who consider the essential work done. This is a mistake. Collectors who could not attend the opening, those who prefer to visit in tranquillity, those who need time to decide: these later visitors represent a significant share of sales.

The dealer must maintain commercial momentum throughout the exhibition period. Follow-ups with collectors who expressed interest, regular social media posts showing installation views, offers of private visits to collectors who have not yet seen the show: these actions extend the opening's momentum.

At D+15, an interim review assesses sales made, options pending and works still available. If certain major works have not found buyers, the dealer may consider targeted actions: proposing a specific work to a collector whose tastes are known, organising a group visit for potential clients, sending a detailed dossier on a work to an art advisor.

At D+30, de-installation is organised, works are packed and either returned to the artist, shipped to collectors who acquired them, or stored pending a future presentation. The exhibition's commercial results are compiled and shared with the artist. Contacts made during the exhibition are integrated into the gallery's database. The dealer sends thanks to collectors who purchased, journalists who covered the exhibition and partners who contributed to its success.

Artedusa offers partner galleries a digital space where each exhibition can continue to live after its physical de-installation, with works remaining visible to international collectors who discover the artist through the platform and can contact the gallery for deferred acquisitions.