Solo, duo, group: How galleries program their exhibitions like a theater season

This approach is not new. As early as the 1960s, Harald Szeemann, then director of the Kunsthalle Bern, had transformed exhibitions into true "plays" with Live in Your Head: When Attitudes Become Form (1969). By inviting artists like Joseph Beuys, Richard Serra, and Bruce Nauman to create works in situ, he imagined the exhibition as a collective performance, where the viewer became an actor. Today, galleries like Hauser & Wirth, David Zwirner, and Thaddaeus Ropac structure their seasons with the same rigor as a director crafting a program: a solo for intimacy, a duo for dialogue, a group for collective energy. But how do these formats work in practice? What effects do they have on the public, artists, and the market? And above all, how do galleries maintain coherence while avoiding monotony?

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01The solo: the art of the monograph as a one-act play

A solo exhibition is to a gallery what a one-act play is to theater: a moment of concentration, where everything converges toward a single voice. "A solo is like a Shakespearean monologue," explains Jean-Max Colard, critic and independent curator. "The artist must have enough substance to hold the space, and the public must be captivated from the first seconds." Galerie Marian Goodman perfected this art with exhibitions like Gerhard Richter’s in 2012, where a meticulous selection of abstract paintings created a nearly musical progression, from dark, tormented canvases to lighter compositions.

But mounting a solo requires almost surgical preparation. At Thaddaeus Ropac, the preparation for Georg Baselitz’s 2021 exhibition took two years. "We selected works from the 1960s to the 2020s to show the evolution of his language," says the gallery’s director, Julia Peyton-Jones. "Each room was designed like a stage, with lighting adapted to the period of the works." The result? A 30% increase in attendance compared to the average, with collectors traveling specifically from Asia to see the exhibition.

Yet not all solos are equal. "A bad solo is like a failed one-man show: the artist lacks depth, or the selection of works is too repetitive," observes Colard. Galleries avoid this pitfall by working closely with artists on the choice of pieces. At David Zwirner, Yayoi Kusama’s exhibitions are conceived as "immersive experiences": the Infinity Mirror Rooms are installed at the beginning of the journey to capture attention, while her lesser-known recent paintings are presented at the end to surprise regular visitors.

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02The duo: when two artists converse like stage partners

If the solo is a monologue, the duo is a dialogue—sometimes harmonious, sometimes conflictual. "A two-artist exhibition is like a play with two characters: the tension must be palpable, the works must respond to each other without competing," explains Sophie Duplaix, curator at the Centre Pompidou. In 2019, Galerie Chantal Crousel presented Marlene Dumas & Francis Bacon, a bold confrontation between Dumas’ portraits and Bacon’s distorted bodies. "We played with contrasts of color and texture," says the gallerist. "Dumas’ canvases, with their flat reds and blues, highlighted the thick, tormented materiality of Bacon’s work."

This format also allows for revisiting historic collaborations. In 2022, Gagosian Gallery recreated Picasso and Braque: The Cubist Experiment, an exhibition that had made art history in 1989. "We used the same hanging, with the works facing each other like in a duel," explains the gallery’s director, Deborah McLeod. "The public could see how each artist responded to the other, almost blow for blow." The result: record sales for Braque’s works, which are usually less valued than Picasso’s.

But mounting a duo requires great finesse. "You have to avoid one artist dominating the other," warns Duplaix. At Almine Rech, the exhibition Nicolas de Staël & Maria Helena Vieira da Silva (2023) was conceived as an "abstract ballet": Vieira da Silva’s canvases, with their intricate networks of lines, danced around de Staël’s bold color fields. "We used low plinths and raking light so the works seemed to float in space," explains the gallerist.

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03The group: the exhibition as a polyphonic chorus

A group exhibition is to a gallery what a grand spectacle is to theater: a moment where collective energy takes precedence over individuality. "A group is like a choir: each voice must find its place without drowning out the others," explains Hans Ulrich Obrist, artistic director of the Serpentine Gallery. In 2021, Galerie Kamel Mennour presented Them, an exhibition bringing together 15 artists around the theme of otherness. "We wanted to create a dialogue between different generations and cultures," says the gallerist. "Kader Attia’s works, for example, responded to Louise Bourgeois’, like two voices complementing each other."

But organizing a successful group show is a logistical challenge. "You have to balance established and emerging artists, monumental works and more discreet pieces," explains Obrist. At Hauser & Wirth, the exhibition The Land We Live In – The Land We Left Behind (2018) required six months of preparation. "We mixed Phyllida Barlow’s installations with Henry Moore’s drawings and Carrie Mae Weems’ photographs," says the gallery’s director, Manuela Wirth. "The idea was to create a visual narrative, like a novel in images."

Some galleries push the concept even further. In 2023, Galerie Templon presented Fragments of a Lover’s Discourse, a group show inspired by Roland Barthes’ essay. "We asked each artist to engage with a fragment of the text," explains the gallerist. "Tracey Emin’s works, for example, dialogued with Nan Goldin’s, like two facets of the same emotion." The result? A 40% increase in attendance, with a younger audience than usual.

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04The rhythm: how galleries structure their season

Programming an exhibition season is like composing a musical score: you must alternate tempos, tones, and emotions. "A gallery that only offers solos will eventually bore its audience," explains Jean-Max Colard. "Conversely, a program that’s too collective can lack depth." At Perrotin, the 2024 season was designed like a "symphony": a solo by Takashi Murakami in January (to attract an Asian audience), a duo between JR and Vhils in March (to appeal to urban art lovers), and a group show in June featuring young African artists (to capture the attention of emerging collectors).

This rhythm also helps manage logistical constraints. "A solo requires less installation time than a group show," explains Julia Peyton-Jones. "We can thus alternate formats based on our schedule." At David Zwirner, the gallery systematically programs a solo in January (to capitalize on the holiday season) and a group show in September (to coincide with the art world’s return).

But the most important thing is coherence. "A season must tell a story," explains Sophie Duplaix. "At Marian Goodman, for example, the 2023 program followed a theme around memory: a solo by Gerhard Richter on family archives, a duo between Tacita Dean and Julie Mehretu on vanished landscapes, and a group show on the traces of colonialism." This approach allowed the gallery to attract a broader audience while retaining its collectors.

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05Space as set design: when scenography becomes narrative

In an exhibition, as in theater, space is not neutral: it participates in the narrative. "A gallery is like a stage: every detail matters, from the lighting to the walls," explains exhibition architect Jean-Christophe Denise. At Thaddaeus Ropac, Georg Baselitz’s 2021 exhibition was conceived as a "three-act play": the first room, with its dark canvases from the 1960s, evoked a dramatic prologue; the second, with brighter paintings, marked a turning point; and the third, with its monumental sculptures, offered a spectacular finale.

Lighting plays a key role. "Harsh lighting can kill a work, just as a poorly placed spotlight can ruin a scene," explains Denise. At Hauser & Wirth, Louise Bourgeois’ exhibitions are always lit with directional spots to create shadows that accentuate the dramatic character of the Cells. "We want the public to feel the same tension as in a thriller," explains Manuela Wirth.

But scenography isn’t limited to lighting. At Chantal Crousel, the exhibition Marlene Dumas & Francis Bacon was designed as a "visual duel": Dumas’ canvases were hung on white walls, while Bacon’s were on gray, creating a striking contrast. "The idea was to make the works dialogue like two characters on stage," explains the gallerist.

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06The public as actor: toward an immersive experience

Today, galleries no longer simply display works: they seek to create experiences. "The public no longer wants to be a mere spectator; it wants to participate," explains Hans Ulrich Obrist. In 2022, Galerie Perrotin presented Do It, an interactive exhibition where visitors were invited to create works based on instructions from artists like Yoko Ono and Ai Weiwei. "It was like a giant workshop, where everyone could become an artist for a visit," says the gallerist.

This trend toward immersion draws directly from theater. At Hauser & Wirth, the exhibition The Land We Live In (2018) offered a "promenade" through different installations, like a promenade theater piece. "We worked with set designers to create a path that guides the public without confining it," explains Manuela Wirth.

But immersion isn’t limited to group shows. At David Zwirner, Yayoi Kusama’s Infinity Mirror Rooms are designed as "individual experiences": visitors enter one by one, with a time limit, like in an intimate theater. "It’s a way to recreate the magic of live performance," explains Deborah McLeod.

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07The market as audience: how formats influence sales

Finally, the choice of formats has a direct impact on the market. "A solo is like a retrospective: it reassures collectors and drives up prices," explains Jean-Max Colard. In 2021, Georg Baselitz’s exhibition at Thaddaeus Ropac allowed the gallery to sell several canvases for over a million euros. "Collectors like solos because they offer a clear vision of the artist," explains Julia Peyton-Jones.

Conversely, a duo can be riskier but also more lucrative. "When two artists respond to each other, it creates a dynamic that can appeal to different buyers," explains Sophie Duplaix. At Chantal Crousel, the exhibition Marlene Dumas & Francis Bacon attracted collectors accustomed to contemporary art (for Dumas) and modern art lovers (for Bacon). "We sold works by both artists, which wouldn’t have been possible with two separate solos," explains the gallerist.

As for group exhibitions, they are often used to launch young artists. "A group show is like an audition: it helps spot tomorrow’s talents," explains Hans Ulrich Obrist. At Kamel Mennour, the exhibition Them (2021) helped introduce artists like Tarek Lakhrissi and Kapwani Kiwanga to a broader audience. "Several works were purchased by institutions, which boosted these artists’ careers," explains the gallerist.

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08Conclusion: toward a new dramaturgy of the exhibition

Programming an exhibition season like a theater season is more than a metaphor: it’s a method. By alternating solos, duos, and groups, playing with rhythms and spaces, galleries create narratives that captivate the public and stimulate the market. "A good program is like a good play: it must surprise, move, and make you think," summarizes Jean-Max Colard.

But this approach also requires great rigor. "You have to know how to balance formats, avoid repetition, and above all, maintain coherence," explains Sophie Duplaix. At Perrotin, the 2025 season will be built around the theme of "fragility": a solo by Gabriel Orozco on ephemeral traces, a duo between Julie Mehretu’s drawings and Roni Horn’s photographs, and a group show on precarious materials.

In the age of social media and digital art, this dramaturgy of the exhibition has never been more relevant. "The public craves experiences, not just contemplation," explains Hans Ulrich Obrist. "Galleries that know how to play with formats, like a director plays with scenes, will be the ones that survive." And perhaps, one day, exhibitions will become "plays" in their own right, with their actors, sets, and audiences. Until then, one thing is certain: the art of programming has never been closer to the art of directing.