The 2026 exhibition catalogue: When paper and digital intertwine without replacing each other

This coexistence between paper and digital is not just a passing trend, but a pragmatic response to contemporary challenges. According to a 2025 study by the Observatory of Cultural Practices, 62% of exhibition visitors say they prefer consulting a physical catalogue for the "sensory experience" it provides, while 78% use digital supplements to access enriched content. Even more revealing: 45% of the institutions surveyed have adopted a hybrid model, compared to just 12% in 2020. These figures illustrate a fundamental trend: the exhibition catalogue has become a testing ground where the balance between materiality and dematerialization, accessibility and exclusivity, permanence and ephemerality is being negotiated.

01When the catalogue becomes a work in its own right

The evolution of the exhibition catalogue reflects that of contemporary art itself. Once considered a mere documentary tool, it now asserts itself as an extension of the artwork—or even as an autonomous creation. This transformation is particularly evident in the practices of artists who now integrate catalogue design into their creative process.

Take the example of Olafur Eliasson and his exhibition Your Blind Passenger, presented in 2026 at the Guggenheim in New York. The physical catalogue does not simply reproduce the artist’s light installations: it reinterprets them in the form of a book-object whose pages, printed on a translucent paper specially developed by Atelier Luma in Arles, recreate the experience of the immersive fog characteristic of the exhibition. The digital supplement, meanwhile, offers a virtual reality experience where users can "navigate" through this misty environment, with light effects that adapt in real time to their movements.

This approach is not isolated. The Thaddaeus Ropac gallery collaborated with artist Julie Mehretu for her 2026 Paris exhibition, The World Through Lines. The physical catalogue reproduces Mehretu’s vast abstract canvases on a fold-out format measuring 1.20 meters in length, while the digital version includes an interactive sketchbook where the artist explains her technique of layering. "The catalogue is no longer a mirror of the exhibition, but a prism that reveals its hidden dimensions," Mehretu explained in an interview with The Art Newspaper in February 2026.

This transformation of the catalogue into a work in its own right is accompanied by a reflection on its market value. Some institutions, like the Cartier Foundation, now offer limited editions of catalogues signed by the artists, sold as prints or multiples. For the exhibition We the Trees in 2026, the foundation produced 200 copies of a catalogue on Japanese mulberry paper, hand-printed using traditional techniques, priced at 1,200 euros each. These objects, halfway between an art book and a collectible piece, find buyers among a clientele seeking to own a tangible trace of the exhibitions they have visited.

02The materials redefining the book-object

Innovation in exhibition catalogues is not limited to their content or format: it also extends to the materials used. In 2026, the choice of medium has become a curatorial act in itself, reflecting the ecological, aesthetic, and technological concerns of institutions.

FRAC Sud made waves with its mycelium paper catalogue, developed in collaboration with Atelier Luma. This material, grown from agricultural waste and mushrooms, offers several advantages: it is biodegradable, resistant, and its production requires 90% less water than traditional paper. "We wanted a catalogue that embodied the values of the exhibition, which focuses on the relationships between species and ecosystems," explains Leila Simon. "Mycelium, which forms underground networks connecting trees, was the perfect metaphor."

Other institutions are exploring equally innovative avenues. The Centre Pompidou opted for a catalogue made of reconstituted stone for its 2026 exhibition Mineralities. Composed of 80% limestone powder and 20% non-toxic resin, this material offers a unique texture and exceptional durability. "Stone is the oldest medium of art, and yet we have reinvented it for the 21st century," comments the industrial designer who oversaw the project.

For luxury editions, some galleries are reviving forgotten artisanal techniques. The Perrotin gallery collaborated with Steidl Press to produce the catalogue for the exhibition Lee Ufan: Resonance in 2026. The pages, printed using heliogravure on handmade kozo paper from Japan, reproduce with exceptional fidelity the subtle gradations of gray in the artist’s paintings. Each copy, priced at 850 euros, comes with a numbered certificate of authenticity.

These material innovations are accompanied by a reflection on the durability of catalogues. CXD France, a specialist in exhibition media, has developed a range of "smart papers" incorporating biodegradable NFC chips. These chips, activated via a smartphone, provide access to digital content without altering the tactile quality of the medium. "We have resolved the paradox of the hybrid catalogue: preserving the physical experience while offering the advantages of digital," explains the company’s technical director.

03Digital as a complement, not a substitute

Contrary to the predictions of the 2010s, which foresaw the disappearance of paper catalogues in favor of entirely digital versions, 2026 marks the advent of a complementary model. Institutions have understood that digital does not replace the tactile experience but enriches it.

This complementarity is particularly evident in how content is structured. The MAC VR3D developed a system of "information layers" for Internation’ART: the paper catalogue presents the works in their historical and aesthetic context, while the digital version offers artist interviews, behind-the-scenes footage of the installations, and virtual tours of the exhibition’s backstage. "We designed the catalogue like an onion, with successive layers that visitors can explore at their own pace," explains the museum’s director of publications.

This approach responds to a growing demand for personalization. According to a 2025 study by specialist online platforms, 68% of collectors surveyed use digital catalogues to deepen their knowledge of artworks before making a purchase, while 82% keep the paper versions as reference objects. Institutions are adapting their strategies accordingly: the Louvre now offers customizable thematic paths in its catalogue app, while the MoMA allows users to create their own selections of works and share them on social media.

Technological innovation is not limited to enriched content. Some institutions are experimenting with interactive formats that transform the reading experience. For its 2026 exhibition Digital Afterlives, the ZKM in Karlsruhe developed an augmented reality catalogue where artworks come to life when users scan the pages with their smartphones. The digital sculptures of artist Refik Anadol, usually projected on screens, thus appear in three dimensions in the physical space, creating an unprecedented interaction between the printed medium and the reader’s environment.

This hybridization of media, however, poses technical and conceptual challenges. How can the longevity of digital content be ensured? How can the immediate accessibility of digital be reconciled with the collectible value of paper? Institutions are exploring various solutions. The Tate Modern has implemented a system of "living catalogues": digital versions are regularly updated with new content, while paper editions are archived under optimal conservation conditions. "We consider the catalogue as an evolving organism, not a fixed object," explains the museum’s head of archives.

04The economics of the hybrid catalogue: between accessibility and exclusivity

The production of hybrid catalogues raises complex economic questions. While digital reduces production and distribution costs, it does not eliminate expenses related to design, writing, and layout. Institutions must strike a balance between accessibility and profitability.

The dominant economic model in 2026 relies on a strategy of differentiation. Digital versions are generally free or inexpensive (between 5 and 15 euros), while paper editions—especially those incorporating material innovations—can reach high prices. The catalogue for the exhibition Picasso: The Late Works at the MoMA in 2026 illustrates this trend: the digital version is available online for free, while the physical edition, printed using giclée on handmade paper, sells for 250 dollars.

This differentiation strategy is accompanied by a reflection on distribution channels. Galleries and museums now favor a multichannel approach: online sales via their websites, distribution in specialized bookstores like Librairie Yvon Lambert in Paris or Printed Matter in New York, and free availability in exhibition spaces. Some institutions, like the Pinault Foundation, are experimenting with subscription models: for 50 euros per year, members receive the paper catalogues of current exhibitions, as well as unlimited access to enriched digital versions.

Funding, however, remains a crucial issue. Catalogues often represent a significant expense in exhibition budgets, with costs ranging from 20,000 to 200,000 euros depending on the project’s complexity. To reduce these costs, some institutions are turning to crowdfunding. The 2026 Manifesta biennial launched a Kickstarter campaign to finance its hybrid catalogue, offering limited editions and exclusive experiences in return. "This approach allows us not only to fund the project but also to create an engaged community around the exhibition," explains the biennial’s communications director.

05Preservation in the digital age: challenges and solutions

The coexistence of physical and digital media poses unprecedented challenges for preservation. While paper catalogues can, under optimal conditions, last for centuries, digital versions are subject to the obsolescence of formats and storage media.

This issue is particularly acute for institutions that have accumulated digital archives since the 2000s. The Centre Pompidou launched a major project in 2025 to digitize and migrate its old catalogues, some of which had become unreadable due to outdated software. "We lost years of work because no one had anticipated the evolution of formats," laments the museum’s head of digital archives. "Today, we use open standards and decentralized storage systems to ensure the longevity of our content."

For hybrid catalogues, the question of preservation is compounded by a technical challenge: how to preserve both the physical medium and the associated digital content? Some institutions, like FRAC Île-de-France, have opted for a "dual archiving" system. Paper versions are stored in climate-controlled reserves, while digital content is stored on decentralized servers using blockchain technology. "This approach allows us to guarantee the integrity of both media while facilitating access for researchers," explains the chief curator.

The preservation of hybrid catalogues also raises legal questions. Who is responsible for preserving digital content? How can copyright be reconciled with the need to migrate data to new formats? In 2026, most institutions have adopted Creative Commons licenses for their digital catalogues, enabling broad distribution while protecting the rights of artists and authors. Some galleries, like Hauser & Wirth, go further by including specific clauses in their contracts with artists, ensuring the longevity of digital content associated with exhibitions.

06The catalogue as a mediation tool: toward a new relationship with the public

Beyond its documentary function, the exhibition catalogue in 2026 has become a full-fledged mediation tool, transforming the relationship between institutions and their audiences. This evolution responds to a growing demand for personalized and interactive experiences.

The Palais de Tokyo was one of the first to explore this path with its 2025 exhibition Post-Nature. The catalogue, designed as a "toolbox," offers visitors activities to do at home: recipes inspired by the artworks, meditation exercises guided by the artists, or instructions for creating their own installations. "We wanted the catalogue to be an extension of the exhibition, not just a souvenir," explains the exhibition’s curator.

This participatory approach is also found in digital catalogues, which increasingly incorporate interactive elements. For its 2026 exhibition Reclaiming the Canon, the Tate Modern developed an app allowing users to "remix" the exhibited works by overlaying graphic elements or changing colors. The most popular creations are then displayed in a virtual gallery accessible via the museum’s website. "This approach democratizes access to art while creating a dialogue between artists and the public," comments the director of digital mediation.

Hybrid catalogues also play an increasing role in art education. The Louvre developed a "pedagogical" version of its catalogue for the 2026 exhibition The Masters of Drawing. Designed for teachers and students, this edition offers practical exercises, interactive artwork analyses, and resources for organizing self-guided visits. "The catalogue is no longer just a documentation tool, but an active learning tool," explains the museum’s head of educational programs.

07Toward a new ecology of the catalogue

The production of exhibition catalogues, whether physical or digital, raises increasingly pressing ecological questions. In 2026, institutions face a paradox: how to reconcile the need to document exhibitions with the urgency of reducing their environmental footprint?

This reflection has led to the emergence of new practices. FRAC Sud, with its mycelium paper catalogue, paved the way for a circular approach to production. The material, entirely biodegradable, can be composted after use, while the inks used are made from algae and natural pigments. "We wanted a catalogue that leaves no negative trace on the environment," explains Leila Simon.

Other institutions are exploring equally innovative solutions. The Marian Goodman gallery launched a "reusable catalogue" program in 2026. Visitors can return their copy after the exhibition, and the museum redistributes it for a new event. "This approach significantly reduces waste while creating a link between different exhibitions," explains the gallery’s director.

The ecological question also concerns digital catalogues. While their production does not generate physical waste, their environmental impact is not negligible. According to a 2025 study by The Shift Project, streaming a 100-page digital catalogue emits about 0.5 kg of CO₂, due to the energy consumption of servers and networks. To reduce this impact, some institutions, like the Centre Pompidou, have opted for "green" hosting, using renewable energy and optimized cooling systems.

This ecological awareness is accompanied by a reflection on digital sobriety. In 2026, more and more digital catalogues are designed according to eco-design principles: optimal image compression, limitation of energy-intensive animations, and prioritization of static content. "We need to rethink our relationship with digital, favoring quality over quantity," explains a designer specializing in cultural interfaces.

08The future of the catalogue: between archive and experience

In 2026, the exhibition catalogue has become much more than a simple document: it is a hybrid object at the intersection of art, technology, and ecology. This evolution reflects the profound transformations of the art world, where the boundaries between physical and digital, archive and experience, documentation and creation are gradually blurring.

The challenges are numerous: how to reconcile accessibility and exclusivity? How to ensure the longevity of content in a constantly evolving digital world? How to reduce the environmental footprint of these cultural objects? The answers to these questions will determine the future of the exhibition catalogue.

One thing is certain: the 2026 catalogue is no longer a mere mirror of the exhibition, but a prism that reveals its hidden dimensions. Whether made of mycelium paper or augmented reality, it embodies a new way of thinking about the relationship between art and its audience. In a world where cultural experience is increasingly dematerialized, the hybrid catalogue offers a tangible resistance, an anchor in the physical world that reminds us that art, before being an image or a concept, is first and foremost an encounter.