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Flipping, the practice of buying a work on the primary market and reselling it at auction a few months later for a quick profit, has become one of the most disruptive phenomena in the contemporary art market. When a collector acquires a work from a gallery only to consign it to Christie's or Sotheby
The dealer is not merely a merchant. They are a mediator between artist and collector, and the quality of that mediation determines the depth of the relationship the collector will develop with the works they acquire. A collector whose eye has been trained buys better, holds longer, resells less imp
Chinese contemporary art has experienced, over three decades, a trajectory without equivalent in the recent history of the art market. Artists such as Ai Weiwei, Zhang Xiaogang, Zeng Fanzhi, Liu Xiaodong, Xu Zhen and Cao Fei have become inescapable figures on the international stage. The Chinese mar
The art world readily cultivates the image of passion as sufficient fuel. People work late because the opening demands it, travel ceaselessly because fairs follow one another, absorb the pressure of artists, collectors and the market because that is the price of beauty. This mythology of vocation ma
Forgery in the art market is not a marginal phenomenon confined to Old Master paintings sold in dubious backrooms. It affects contemporary art, photography, printmaking and sculpture, and it circulates through channels that appear perfectly legitimate. A dealer who discovers that they have sold a fa
The contemporary art gallery is undergoing a profound transformation in its relationship with the public. The white, austere and intimidating space that long defined the white-cube archetype is gradually being replaced by venues that integrate dimensions of welcome, conviviality and sharing. The mos
In an art world obsessed with international coverage — a piece in Artforum, a mention in The Art Newspaper, a profile in Frieze — the local press is often dismissed by dealers as a minor form of communication. This is a strategic error. Local media, whether the regional daily, the neighbourhood radi
Late payment is one of the most common and delicate problems gallery dealers face. The art market operates largely on trust and personal relationships, making financial matters particularly sensitive. A collector who is slow to settle a purchase is not necessarily a bad payer: they may face temporar
Figurative narrative painting is experiencing a spectacular revival in the contemporary art market. After decades dominated by abstraction, conceptual art and post-minimal practices, figuration has returned forcefully to the programmes of the most prominent galleries, to auction houses and to instit
Contemporary art biennials have become essential fixtures of the global art calendar. The Venice Biennale, Documenta in Kassel, the Lyon Biennale, the Sao Paulo Biennale, the Sydney Biennale and Manifesta attract hundreds of thousands of visitors each year, together with international collectors, mu
The concept of artist residency is firmly established in the contemporary art landscape. But the idea that the dealer themselves might enter into residency, setting up temporarily in a city that is not their own to open an ephemeral space, develop a local network and explore a new market, remains a
The millennial generation, born between the early 1980s and the mid-1990s, now represents a growing share of the clientele for contemporary art galleries. These collectors, roughly between thirty and forty-five years old, are reaching a point in their professional lives where their income permits th
Textile art and contemporary tapestry are experiencing a renaissance that upends the traditional hierarchies of the art market. Long relegated to the status of craft or decorative art, textile has won its place in museums, international fairs and major private collections. Artists such as Sheila Hic
The idea of opening a temporary space outside the city during the summer season is not new, but it has enjoyed a considerable resurgence of interest in recent years. Dealers who practise this formula discover an economic and relational model that complements their main activity in often unexpected w
The dealer searching for new talent naturally turns to degree shows, open studios and emerging art fairs. Yet a considerable reservoir remains underexploited by most galleries: the alumni networks of art schools. These communities, structured around shared training and aesthetic affinities forged du
The visual identity of a contemporary art gallery is far more than a logo on an invitation card. It is the graphic translation of the gallery's personality, its aesthetic positioning, its relationship with artists and collectors. A coherent and controlled visual identity communicates before the visi
The convergence between the art world and sport is one of the most interesting phenomena in the contemporary market. Football clubs commissioning works for their stadiums, sports foundations building contemporary art collections, athletes becoming collectors: the intersections multiply and create op
Moral rights are a pillar of intellectual property law in France and most European countries. They confer on the artist a set of inalienable and perpetual prerogatives protecting the bond between creator and work. For the dealer, moral rights are not a legal abstraction: they are a concrete reality
The boundary between visual arts and performing arts has never been so porous. Contemporary artists integrate performance, dance, singing, spoken word and theatre into their practice, transforming the gallery into a space where the work is not merely observed but experienced. For the dealer, hosting
The Nordic contemporary art market — Denmark, Sweden, Norway, Finland, Iceland — is paradoxically one of the most dynamic in Europe and one of the least known to galleries across the continent. The Scandinavian countries possess first-rate museum infrastructure, a tradition of public support for cre
In 1958, Leo Castelli walked into Jasper Johns's studio for the first time and discovered the Target and Flag paintings. Within days, he bought the artist's entire stock. This decision, made without a written contract, forged one of the most defining collaborations of the twentieth century.
In 1990, Emmanuel Perrotin opened his first gallery in a former Marais storefront, sixty square meters, at twenty-one. He had no collection, no established clientele, and almost no money. What he had was a capacity to look — and to distinguish what deserved attention.
The role of the contemporary art gallery no longer ends at its white walls. A growing number of galleries support their artists in public art projects and monumental commissions that deploy works in urban spaces, gardens, buildings and landscapes. This extension of gallery activity into the public d
The high-end art market has always depended on personal relationships and discretion. What has changed is the channel through which that relationship is conducted. The most active galleries on the international market now sell a significant share of their works through private messaging — WhatsApp f