Sharing space without losing your soul: The gamble of collaborative galleries

01When gallery history is written through sharing

The idea of sharing space is nothing new in the art world. As early as the 1920s, the Bauhaus in Dessau brought together workshops, exhibitions, and lectures under one roof, foreshadowing today’s hybrid models. Closer to our time, the Parisian artist squats of the 1990s, like 104 rue de Vaugirard, showed how precarious spaces could become laboratories for collective creation. But it was the 2008 financial crisis that truly accelerated the trend. In New York, galleries like The Hole or Cooper Cole began sharing back-office operations—transport, insurance, communications—to survive rising rents. The pandemic finally convinced the most reluctant: in 2021, according to the Art Basel/UBS report, 42% of surveyed galleries had experimented with collaborative models, up from just 18% in 2019.

These collaborations go beyond mere space rental. The Condo project, launched in 2016 by Vanessa Carlos of Carlos/Ishikawa gallery, takes the concept further: invited galleries exhibit their artists in host gallery spaces, creating a kind of "curatorial tourism." In 2023, Condo brought together 112 galleries across 15 cities, from Mexico City to Seoul. "The idea isn’t to merge identities but to foster dialogue," Carlos explains. "A gallery like ChertLüdde in Berlin can show its artists in Gavin Brown’s space in New York without losing its DNA."

02The architecture of compromise: designing an adaptable space

Sharing a space means rethinking its layout. At Cromwell Place, galleries use modular partitions by USM Haller, allowing rooms to be reconfigured in a matter of hours. The walls, painted in an off-white (Pantone 11-0601), serve as a neutral backdrop, while each gallery brings its own pedestals, lighting, and signage. "The challenge is to create coherence without uniformity," says architect David Kohn, who designed the spaces. "We opted for polished concrete floors—durable and discreet—and an adjustable LED lighting system (ERCO) that lets each gallery set its preferred color temperature."

Flexibility isn’t limited to walls. Shared spaces often include common areas—mutual storage, meeting rooms, even bars—that become hubs of sociability. In Paris, the "Les Ateliers de Paris" project in the 13th arrondissement offers modular spaces where galleries, artists, and designers coexist. "We designed custom furniture, like Vitra’s mobile display cases, that allow galleries to create distinct micro-environments," explains architect Jean-Christophe Quinton.

Yet these setups aren’t without risks. Humidity variations, for example, can damage artworks. "We had to install connected sensors to monitor climate conditions in real time," says a Cromwell Place manager. "A Gerhard Richter painting can’t handle the same fluctuations as a Julie Mehretu work on paper."

03The legal puzzle: contracts, insurance, and intellectual property

Sharing a space also means sharing responsibilities. Short-term rental contracts, like those at Cromwell Place, typically include strict clauses on duration (from one week to three months), fees (between €5,000 and €20,000 per month depending on size), and included services (cleaning, security, insurance). "Most galleries opt for 'all-risk' policies covering theft and damage," says Sophie Vatinel, a lawyer specializing in art law. "But be careful: these policies don’t always cover works in transit or performances."

Another sensitive issue is intellectual property. Under Condo, host and guest galleries sign agreements specifying who holds rights to exhibition images and potential sales. "We had a case where a guest gallery used exhibition photos for an ad campaign without the host’s permission," Vanessa Carlos recalls. "Since then, we’ve included a clause on visual usage."

Taxes can also become a headache. In France, galleries sharing a space must declare their revenues separately but can pool certain expenses (electricity, insurance) with proper documentation. "The 5.5% VAT rate applies to cultural space rentals, but not to ancillary services like catering," Vatinel notes. "Contracts need to clearly distinguish these categories."

04Condo, Cromwell Place, and others: what collaborative models teach us

The success of Condo and Cromwell Place has inspired other initiatives. In Paris, Templon Gallery launched "Templon Lab" in 2022, a shared space with emerging galleries like Ceysson & Bénétière. "The idea is to create an ecosystem where everyone keeps their independence but benefits from the group’s visibility," explains Daniel Templon. In Brussels, the "Art Brussels Hub" offers temporary spaces during the fair, while in Hong Kong, "H Queen’s" brings multiple galleries together in one building.

These models reveal key trends: Modularity as the norm: Galleries now favor reconfigurable spaces with lightweight partitions and adaptable lighting systems. Hybrid audiences: Shared spaces attract more diverse visitors. At Cromwell Place, "First Thursdays"—collective openings—draw up to 2,000 people per evening. Pooling hidden costs: Transport, insurance, communications—galleries save up to 30% on these expenses by sharing them.

Yet these collaborations aren’t without criticism. Some see them as the "service platformsization" of the art market, where galleries become interchangeable. "The risk is turning space into a mere container, without a soul," warns art critic Jérôme Sans. Others point to inequalities: at Cromwell Place, major galleries like Hauser & Wirth occupy the most visible spaces, relegating smaller ones to upper floors.

05How to preserve your identity in a shared space?

The question of identity is central to the debate. "A gallery is first and foremost a perspective," reminds Emmanuel Perrotin. "Lose that, and you lose everything." To avoid this pitfall, galleries develop strategies: Distinctive signage: At Cromwell Place, each gallery has a personalized entrance sign with its own typography and colors. Victoria Miro uses a bright pink (Pantone 13-1404), while Hauser & Wirth opts for anthracite gray. Spatial markers: Some galleries install permanent elements, like benches or light fixtures, that are uniquely theirs. Marian Goodman Gallery, for example, always uses raw wood pedestals for sculptures. Signature programming: Even in a shared space, a gallery can impose its style. In 2022, Thaddaeus Ropac Gallery organized a Georg Baselitz exhibition at Cromwell Place, recreating the atmosphere of its Salzburg gallery—white walls, raking light, and the characteristic scent of waxed wood.

"Identity isn’t just about decor," emphasizes gallerist Nathalie Obadia. "It’s also about how you welcome collectors, how you talk about the works, how you organize openings." In Paris, her gallery shares a space with Chantal Crousel in the Marais, but each exhibition is preceded by a private tour for loyal clients, with a pitch tailored to each gallery.

06Pitfalls to avoid: lessons learned

Galleries venturing into shared spaces often make the same mistakes. Here are the main pitfalls—and how to avoid them: Underestimating hidden costs: "Many galleries think they’re saving on rent but forget about reconfiguration fees or extra insurance," says a Cromwell Place manager. Solution: budget 15–20% more than initial estimates. Neglecting logistics: "We had a case where a gallery had to cancel an exhibition because the works weren’t insured for transport," Vanessa Carlos recalls. Solution: always verify insurance policies before collaborating. Forgetting communication: "An exhibition in a shared space can go unnoticed if it’s not properly promoted," warns Daniel Templon. Solution: create a dedicated communication plan, with visuals tailored for social media and partnerships with local influencers. Losing your network: "Some galleries end up isolated because they don’t participate in collective events," observes a Parisian gallerist. Solution: get involved in shared openings and collaborative projects.

07Toward a new gallery model?

Shared spaces could well redefine the gallery landscape. According to a University of Zurich study, 65% of European galleries are considering adopting a collaborative model by 2027. "It’s no longer an option but a necessity," says gallerist Almine Rech. "Costs are too high to keep doing things the old way."

Yet these models aren’t for everyone. Major players like Gagosian or Pace, which rely on monumental spaces and strong identities, remain hesitant. "Our strength lies in creating unique experiences," explains Marc Glimcher, president of Pace Gallery. "Sharing a space risks diluting that experience."

For emerging galleries, however, it’s an opportunity. "For us, it’s a way to gain visibility without breaking the bank," says Parisian gallerist Anne-Sarah Bénichou. "And it leads to unexpected encounters." In 2023, her gallery shared a space with Semiose Gallery during FIAC, attracting collectors who didn’t know them.

08Conclusion: the art of sharing without losing yourself

Shared spaces aren’t a magic solution but a pragmatic response to the art market’s economic challenges. Their success depends on a delicate balance: pooling costs without sacrificing what makes a gallery unique—its perspective, its network, its history. As Vanessa Carlos puts it: "It’s not about merging identities but building bridges. A gallery is like a book: you can lend it, but you can’t rewrite it."

For galleries willing to take the plunge, the keys to success are clear: choose compatible partners, invest in flexible design, and above all, never lose sight of what makes you singular. Because in the end, a gallery isn’t just a space—it’s a voice. And that voice must be heard, even amid the noise of a shared place.