Selling in the united states without a gallery in new york: A guide to strategies that work

This approach reflects a broader trend. According to the latest Art Basel/UBS report, 42% of European galleries surveyed report regular sales in the United States, but only 18% maintain a physical space there. The traditional model—opening a branch in Chelsea or Tribeca—is no longer the only path, nor even the most profitable. Operating costs in New York have risen by 37% since 2019, while profit margins for European galleries in the American market have shrunk to 12-15%, down from 20-25% a decade ago.

Yet the American market remains indispensable. With 43% of global contemporary art sales in 2023 (source: Artprice), the United States represents a pool of collectors whose purchasing power far exceeds that of their European counterparts. The question is no longer whether to sell there, but how to do so without sinking into debt over a New York space.

01The myth of New York: why European galleries resist the call

The idea that a European gallery must open in New York to succeed in the United States is more dogma than economic reality. The numbers speak for themselves: the average rent for a 200-square-meter space in Chelsea now reaches $150,000 per year, not counting expenses (electricity, insurance, staff) that can double that amount. Add to that salaries—a New York gallery director costs between $120,000 and $180,000 annually—and the essential marketing spend needed to stand out in a saturated ecosystem.

The Zurich gallery Eva Presenhservice platforms opened a space in New York in 2017, only to close it four years later. "We realized that 80% of our American sales came from fairs and our online network," explains its director, Andreas Hservice platforms. "Maintaining a permanent space was burning through $500,000 a year for marginal returns." Since then, Presenhservice platforms has focused on selective appearances at Art Basel Miami and Frieze Los Angeles, combined with partnerships with local galleries like David Kordansky in Los Angeles.

This "light footprint" strategy is being adopted by more and more European players. The Brussels gallery Xavier Hufkens, which represents artists like Tracey Emin and Sterling Ruby, has chosen not to establish itself in New York. Instead, it participates in two American fairs per year (Frieze New York and Art Basel Miami) and works closely with the New York gallery Luhring Augustine for exhibitions and sales. "We calculated that a physical presence would cost us around $1.2 million per year," explains its director, François Ghebaly. "By comparison, our fair and partnership budget amounts to $350,000, with a much higher conversion rate."

02American fairs: where and how to invest your budget

Choosing the right American fairs is crucial. Not all are equal, and their profitability depends largely on the gallery’s positioning. Frieze New York remains the most prestigious, but also the most expensive: a 30-square-meter booth costs around $80,000, not including transport, insurance, and staff expenses. For European galleries, this fair is often more of a visibility investment than a direct sales opportunity.

Art Basel Miami Beach, on the other hand, offers a better return on investment for galleries specializing in contemporary and emerging art. Its audience, more international than Frieze New York’s, attracts Latin American and European collectors in addition to Americans. The Parisian gallery In Situ - Fabienne Leclerc made 60% of its American sales there in 2023, with works by Colombian artist Iván Argote selling for between $40,000 and $120,000. "Miami has become a hub for collectors who want to avoid New York without sacrificing quality," explains Fabienne Leclerc. "The more relaxed atmosphere and the absence of local taxes on artworks make it an ideal place for transactions."

For galleries specializing in modern art or works on paper, The Armory Show in New York remains an interesting option. Its cost is lower than Frieze’s (around $50,000 for a 30-square-meter booth), and its more institutional audience allows for sales to museums and foundations. The London gallery Offer Waterman, which represents artists like David Hockney and Maggi Hambling, sold a series of Hockney prints there in 2022 for $250,000 to the Getty Foundation.

Finally, for emerging galleries or those wanting to test the American market without taking too many risks, satellite fairs like NADA Miami or Independent New York offer more affordable alternatives. A booth at NADA costs between $15,000 and $25,000, and the fair attracts a young, dynamic audience, often more open to less established artists. The Parisian gallery Crèvecoeur successfully launched French artist Jean-Marie Appriou there, whose bronze sculptures sold for between $20,000 and $50,000.

03The 3B2C model: how to sell in the United States without paying taxes

One of the main challenges for European galleries selling in the United States is taxation. Import duties on artworks can reach 25% for certain categories, and sales taxes vary by state (from 0% in Delaware to 8.875% in New York). To bypass these obstacles, more and more galleries are adopting the 3B2C model (Business to Business to Consumer), a strategy that involves selling first to an American entity before transferring the work to the final collector.

In practice, this works as follows: the European gallery sells the artwork to an American company (often a subsidiary or local partner) at a price slightly below the public price. This American company then resells the work to the final collector, adding its margin. The advantage? The European gallery avoids import duties, as the initial transaction is considered a wholesale sale (B2B). Meanwhile, the American company can optimize taxes based on its state of incorporation.

The Parisian gallery Templon has used this model since 2020. "We created an LLC in Delaware, a state with no sales tax, which buys our artworks before reselling them to American collectors," explains its director, Jérôme de Noirmont. "This allows us to save between 10% and 15% on each sale while maintaining control over final prices." Templon also works with logistics partners like Crozier Fine Arts, which stores artworks in bonded warehouses in New York and Los Angeles, avoiding import fees until the sale is finalized.

This model has its limitations, however. It requires a solid legal structure and a good understanding of American regulations. "Many European galleries underestimate the fiscal complexity of the United States," warns New York art lawyer Sarah Conley Odenkirk. "An LLC in Delaware isn’t enough if you don’t properly declare your income. The penalties for tax fraud can be severe."

04Partnerships with American galleries: a profitable alternative

Instead of opening their own space, some European galleries prefer to rely on partnerships with established American galleries. This strategy offers several advantages: access to a local collector network, shared logistics costs, and immediate credibility in the American market.

The Parisian gallery Nathalie Obadia has chosen this path to enter the American market. Since 2018, it has collaborated with the New York gallery Kasmin to jointly represent some of its artists, such as Spanish artist Jaume Plensa and French artist Valérie Belin. "Kasmin knows the American market inside out and has a collector network we couldn’t have reached alone," explains Nathalie Obadia. "In return, we bring them top-tier European artists." This partnership has enabled Obadia to make significant sales in the United States, including a Plensa sculpture sold for $350,000 to a Palm Beach collector.

Another successful example is the Brussels gallery dépendance, which works with the New York gallery Mitchell-Innes & Nash. Together, they organized a 2022 exhibition of Belgian artist Harold Ancart in New York, generating over $1.2 million in sales. "The partnership allowed us to test the market without taking major financial risks," explains François Ghebaly, co-director of dépendance. "If the exhibition had failed, our losses would have been limited."

These collaborations are not without challenges. They require a high level of trust between partners and a clear division of roles. "Conflicts of interest must be avoided," warns New York gallerist Sean Kelly. "If a European gallery and an American gallery represent the same artist, who sets the prices? Who manages relationships with collectors? These questions need to be settled from the start."

05Logistics: how to ship and store artworks in the United States

Shipping and storing artworks in the United States are often underestimated aspects for European galleries. Yet poor logistics management can quickly turn a profitable sale into a financial nightmare. Transport, insurance, and storage costs can account for up to 20% of an artwork’s price, especially for large or fragile pieces.

For galleries that regularly sell in the United States, the most efficient option is to work with bonded warehouses, such as those offered by Crozier Fine Arts or UOVO. These warehouses, located near major ports (New York, Los Angeles, Miami), allow artworks to be stored without paying import duties until they are sold. "We have an agreement with UOVO in New York," explains the Parisian gallery Perrotin. "Our artworks are stored in their warehouses and shipped directly to collectors or fairs. This saves us from paying unnecessary import fees."

For galleries participating in multiple American fairs per year, the ATA Carnet system is a practical solution. These carnets, valid for one year, allow artworks to be temporarily imported without paying import duties, provided they are re-exported within twelve months. "We use ATA Carnets for all our American fair participations," explains the Zurich gallery Mai 36. "This allows us to circulate our artworks between Art Basel Miami, Frieze Los Angeles, and The Armory Show without paying taxes each time."

Finally, for galleries selling online, platforms like Artwork Archive or Artlogic offer integrated logistics management tools. These platforms allow real-time tracking of artworks, generation of shipping quotes, and even insurance management. "We use Artwork Archive for all our online sales in the United States," explains the London gallery Whitechapel Gallery. "This allows us to provide accurate shipping quotes to our clients and track artworks until delivery."

06Digital marketing: how to attract American collectors online

With the rise of online sales, digital marketing has become an essential tool for European galleries looking to sell in the United States without a physical space. According to the Hiscox Online Art Trade Report, 58% of American collectors bought an artwork online in 2023, up from just 32% in 2019. For galleries, this means a well-thought-out digital presence can compensate for the lack of a physical space.

The first step is to optimize the gallery’s website for the American market. This means an English-language version, prices displayed in dollars, and payment options tailored to American buyers (U.S. credit cards, PayPal, or even installment plans like Affirm). The Parisian gallery Air de Paris saw its American sales increase by 40% after launching a U.S.-focused version of its website in 2021. "We added express shipping options and dollar-denominated quotes," explains its director, Frédéric Bonnet. "This reassured our American clients, who were hesitant to buy in euros."

Social media also plays a key role. Instagram remains the most effective platform for reaching American collectors, with 72% of them using it to discover new artists (source: specialist online platforms). The Brussels gallery dépendance focuses on targeted content, highlighting its artists at American fairs and posting live stories from openings. "We noticed that posts geotagged in New York or Los Angeles generate twice as much engagement as those posted from Brussels," explains François Ghebaly.

Finally, online sales platforms like specialist online platforms or market data platforms provide immediate visibility in the American market. The Parisian gallery Chantal Crousel sold over 20 artworks to American collectors on specialist online platforms in 2023, totaling $1.8 million. "specialist online platforms allows us to reach collectors we would never have met otherwise," explains its team. "Their algorithm targets buyers based on their interests, increasing our conversion chances."

07Pitfalls to avoid: common mistakes by European galleries

Despite the opportunities, selling in the United States without a physical space carries risks. European galleries often make the same mistakes, which can be costly in terms of time and money.

The first mistake is underestimating the cultural differences between the European and American markets. "American collectors have very different expectations from Europeans," explains New York gallerist David Zwirner. "They want accessible artworks, with a clear story and resale potential. European galleries that arrive with overly conceptual artists or inflated prices often struggle to break through." The Parisian gallery Semiose learned this the hard way in 2021 when it presented works by French artist Bruno Peinado at Frieze New York. His complex installations baffled the American audience. "We realized we needed to adapt our approach and offer more immediate works," explains its director, Isabelle Alfonsi.

Another common mistake is neglecting legal and tax aspects. "Many European galleries think they can sell in the United States without worrying about taxes or contracts," warns art lawyer Sarah Conley Odenkirk. "But the rules are very strict, especially regarding VAT and import duties." In 2022, the London gallery Victoria Miro was fined $150,000 for failing to declare sales made in the United States. "We thought our online sales weren’t affected," explains its team. "We learned the hard way that U.S. authorities consider any transaction with an American resident a local sale."

Finally, some galleries make the mistake of trying to do too much. "They participate in every fair, open accounts on every platform, and end up spreading themselves too thin," explains art strategy consultant Thomas Marks. "It’s better to focus on a few well-chosen channels and exploit them fully." The Parisian gallery In Situ - Fabienne Leclerc reduced its participation in American fairs from four to two per year, concentrating on Art Basel Miami and Frieze Los Angeles. "We doubled our sales by focusing on these two events," explains Fabienne Leclerc. "Quality over quantity."

08The future: toward a more decentralized American market

The American art market is undergoing a transformation. While New York remains the nerve center, other cities are emerging as credible alternatives for European galleries. Los Angeles, with its dynamic ecosystem and young, bold collectors, is attracting more and more players. The Parisian gallery Perrotin opened a space there in 2019, while the Brussels gallery dépendance regularly participates in Frieze Los Angeles.

Miami, with its international audience and absence of local taxes on artworks, is also becoming a major hub. The Parisian gallery Chantal Crousel made over 30% of its American sales there in 2023, with artworks selling for between $50,000 and $200,000. "Miami has become an essential destination for Latin American and European collectors," explains its team. "The more relaxed atmosphere and lower costs than New York make it a very attractive alternative."

Finally, the rise of online sales and digital tools may well render physical spaces obsolete. "In ten years, I’m not sure galleries will still need permanent spaces in the United States," predicts New York gallerist Sean Kelly. "Fairs, partnerships, and online platforms will be enough to cover the market." A trend that could benefit European galleries, allowing them to sell in the United States without the prohibitive costs of a New York presence.

For galleries looking to get started, the key to success lies in a hybrid approach: targeted participation in fairs, strategic partnerships, optimized logistics, and well-thought-out digital marketing. New York is no longer the only gateway to the United States—and for many, it’s no longer the best.