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Copyright © 2026 All Rights Reserved
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Copyright © 2026 All Rights Reserved
Every gallery accumulates, over time, a stock of works that do not immediately find buyers. Pieces returned from a fair unsold, atypical formats collectors hesitate to accommodate, works by artists whose market has not yet gained momentum, historical pieces acquired on the secondary market awaiting
Institutional acquisitions represent an essential milestone in an artist's career and in a gallery's development. When a public fund, a national arts body or a museum acquires a work, it validates the artist's practice through recognition that transcends the marketplace. For the dealer, these sales
Art book publishing is a natural extension of the dealer's activity. A monograph published to accompany an exhibition, an artist's book produced in collaboration with a renowned printer, a catalogue raisonné that documents an artist's entire output: these publications strengthen the gallery's credib
The charity sale is an event format that combines generosity, visibility and network development. When a gallery organises a sale benefiting an association, foundation or social cause, it positions itself as an engaged actor, attracts an audience different from its usual openings, and creates opport
The gallery dealer is not a tax adviser, and should never substitute for the client's accountant or tax lawyer. But complete ignorance of the tax framework governing art acquisitions and resales is a genuine commercial handicap. A collector hesitating to buy is often thinking about the tax implicati
The departure of a represented artist is one of the most destabilising events a gallery can face. When an artist whose market is on the rise decides to join a larger, more international or better-connected gallery, the dealer loses not only a revenue source but a central element of their programme i
Private foundations and major individual patrons represent a strategic audience for contemporary art galleries. Their acquisitions strengthen an artist's market position decisively — a work that enters the collection of the Pinault Collection, the Fondation Louis Vuitton or the Rubell Family Collect
Video art and installation are the most difficult mediums to sell in a gallery setting. No frame to hang, no plinth to set down: the collector buys a temporal experience, a technical apparatus and a certificate guaranteeing ownership of a work whose materiality escapes the market's usual categories.
The artist residency is a format that benefits all three stakeholders in the art world: the artist, who gains space and time for creation outside their usual studio; the dealer, who deepens the relationship with the artist and accesses works produced in a stimulating context; and the public, who dis
Interior designers and decorators represent a powerful but under-exploited referral channel for contemporary art galleries. When a designer furnishes a Haussmannian apartment, a loft or a holiday villa for a wealthy client, art is almost always part of the brief. The budget devoted to artworks can r
The gallery dealer is not merely a merchant. At their best, they are also an exhibition curator capable of constructing a visual discourse that gives meaning to the works on display. An exhibition conceived as a simple commercial hang — the best pieces at the back, small formats by the door — does n
When a represented artist's market takes off and demand for their work exceeds output, the dealer faces a challenge that is luxurious yet perilous. Poorly managed excess demand can frustrate collectors, fuel a speculative secondary market and erode the trust that underpins the art trade. A waitlist,
Art fairs are extraordinary networking accelerators. In four or five days, a dealer meets more collectors, curators and journalists than in six months at their gallery. The problem is that the majority of these contacts never convert into sales. Business cards accumulate, promising conversations lea
Corporate patronage represents an under-exploited funding source for contemporary art galleries. While museums and foundations capture the bulk of corporate cultural budgets, galleries possess specific assets that appeal to corporate patrons: proximity to artists, programming agility, the ability to
The print — lithograph, screenprint, etching, linocut, aquatint — is the oldest medium on the art market and yet one of the most neglected by contemporary galleries. Dismissed as a minor art for much of the twentieth century, it has regained its prestige thanks to artists who have treated it as a fi
The death of a represented artist is one of the most complex ordeals a dealer can face. Beyond personal grief, the artist's passing opens a critical period in which the longevity of the work, the stability of its market position and the continuity of the relationship with collectors are all at stake
The certificate of authenticity is a document that accompanies a work of art and attests to its origin, authorship and characteristics. For the gallery, it is not a mere administrative formality but a front-line commercial and legal instrument. A well-drafted certificate reassures the collector, fac
The corporate art market represents a substantial revenue stream for galleries that know how to approach it. Banks, law firms, corporate headquarters, luxury hotels and co-working spaces invest in contemporary art for reasons that go well beyond decoration: brand image, workplace attractiveness, CSR
Photography occupies a singular place among contemporary art galleries. Long regarded as a minor medium by the market, it earned its legitimacy from the 2000s onwards, driven by the entry of prints into major institutional collections and by soaring prices for historical photographers. A dealer ente
The public sees the exhibition, the opening, the sale. What they do not see is the sustained, often thankless, always time-consuming work that a gallery deploys over years to transform a promising artist into a recognized figure in the contemporary art market. This work is the reason a serious galle
The art market rests on a fundamental tension between two distribution channels that differ in almost every respect: the gallery and the auction house. On the surface, the result is identical — a work changes hands in exchange for payment. In reality, the motivations, guarantees, and experience are
In 1911, the Mona Lisa vanished from the Louvre. For two years, the world searched for her, mourned her, suspected her. When she finally resurfaced—rolled in a simple cloth and tucked into a cheese crate—experts discovered with horror the first traces of mold on her poplar panel. The thief, Vincenzo
November 2026. The sun sets over Saadiyat Island, gilding the dome of the Louvre Abu Dhabi. A few kilometres away, beneath the neon lights of Manarat Al Saadiyat, the first visitors to Frieze Abu Dhabi step into an immersive installation by Emirati artist Maitha Abdalla. Three months earlier, in Doh
In 2017, Nicolas Bellavance-Lecompte and Caroline Andrieux moved into a nineteenth-century apartment in Geneva. They set up a few artworks, invited some friends, and left the door ajar. Three years later, L’Appartement had become one of Switzerland’s most influential galleries—no storefront, no sign