Hybrid galleries, creative studios, art agencies: the new intermediaries

01The gallery without walls, a model that has established itself

The gallery without a permanent physical space is not a recent invention, but it became widespread during and after the pandemic. The model is simple: a dealer or curator works with a group of artists, organises exhibitions in temporary venues, participates in fairs with a pop-up stand, and sells primarily online or by appointment. Fixed costs are radically reduced compared to a traditional gallery paying rent, salaries, lighting and insurance for a permanent space.

For the artist, this model has concrete advantages. The commission is often lower, around 30 to 40 percent rather than the standard 50 percent in traditional galleries, because structural costs are lower. The relationship is generally more flexible: no rigid exclusivity contract, no obligation to produce on a fixed schedule, more freedom to sell in parallel through other channels.

Dealer Emmanuel Perrotin began his career in the 1990s exhibiting in his apartment before opening spaces in Paris, New York, Hong Kong, Tokyo and Seoul. The nomadic gallery model is not a sign of limited means; it is sometimes the beginning of an ambitious trajectory. Structures like Sultana in Paris, which operated for years in temporary spaces before opening a permanent venue, or Exo Exo, which programmes in atypical contexts, show that the absence of walls is not a handicap but a curatorial proposition.

The disadvantage of this model is visibility. Without a permanent storefront, without a space where collectors can drop in spontaneously, the gallery without walls depends entirely on its network, its fairs and its online presence. For an artist who needs to be seen regularly in a physical space, this model can be frustrating. But for an artist who already has a collector network and is looking for strategic support rather than exhibition space, it is often the ideal arrangement.

02The creative studio that represents artists

A more recent phenomenon is the emergence of structures that borrow their operations from talent agencies in film, music and fashion. These studios or agencies represent a roster of artists and manage the commercial aspects of their careers: negotiating commissions, placing work in architectural and interior design projects, managing brand collaborations, handling production and logistics. The traditional gallery focuses on selling works to collectors. The art agency thinks in terms of personal brand, revenue diversification and integration into ecosystems that extend beyond the classical art market.

Artist Takashi Murakami pioneered this approach with Kaikai Kiki, his structure that functions simultaneously as a production studio, representation agency and publishing house. On a more modest scale, structures such as Art Agency Partners, founded by Allan Schwartzman before being acquired by Sotheby's, or agencies specialising in placing works for hospitality and real estate development, offer artists outlets that the traditional gallery does not cover.

For you, working with this type of structure can open revenue sources you would not access alone. A mural commission for a luxury hotel, a fashion brand collaboration for a capsule collection, a design project for a coworking space: these opportunities rarely pass through traditional galleries. They flow through intermediaries who speak the language of brands and developers as fluently as the language of art.

The risk is the dilution of your artistic practice. When an intermediary positions you as a "visual content creator" rather than an artist, the boundary between artistic work and commercial service can blur. Artist Sterling Ruby works with galleries for his art and created his own fashion label, S.R. STUDIO LA. CA., but he maintains a clear separation between the two activities. This clarity is essential: you can diversify your revenue without diluting your artistic identity, provided you know where you draw the line.

03Edition platforms and community models

A third type of intermediary has emerged around limited editions and online communities. Platforms such as specialist online galleries, specialist online platforms and online edition publishers combine the sale of limited editions with editorial and community dimensions. They address a broader audience than traditional galleries, often younger and more digitally connected, discovering art through social media and entering collecting through accessible editions before evolving toward unique works.

Artist Shepard Fairey built a significant part of his career on the limited edition model, with screen prints produced in numbered series and sold at accessible prices. This strategy did not diminish the value of his unique works; it broadened his collector base by creating an affordable entry point. Edition platforms adopt this model and structure it: they manage production, marketing and delivery in exchange for a commission or revenue share.

For an artist whose practice lends itself to reproduction, these platforms are a complementary revenue channel. They do not replace the gallery for selling unique works, but they reach a different audience and generate awareness that can benefit your primary practice. Caution is warranted on volumes, however. Producing too many editions with print runs that are too large can create a perception of accessibility that undermines the perceived value of your unique works. Scarcity remains a fundamental driver of desire in the art market.

04The independent curator as commercial intermediary

The role of the exhibition curator has evolved. The independent curator who organises shows in alternative spaces, writes about artists, recommends them to collectors and institutions, has become a full intermediary. Some independent curators function as informal agents: they do not sell directly but connect artists to buyers and receive a commission or consulting fees.

Hans Ulrich Obrist, one of the most influential curators in the world, has transformed the very notion of curating by integrating a networking and matchmaking dimension that goes far beyond simply organising exhibitions. At a more local level, independent curators play a similar role for emerging artists. They know the collectors in their region, they understand which buyers are looking for which types of work, and they facilitate transactions that would not have happened without their involvement.

Working with an independent curator offers an advantage that the traditional gallery cannot always provide: critical discourse about your work. The curator writes texts, situates your work in a theoretical and historical context, gives you an intellectual legitimacy that is a powerful sales tool with informed collectors. This critical discourse is an investment in your long-term career, not just your next sale.

05How to choose the right intermediary for you

Your choice of intermediary depends on your practice, your career stage and your goals. If you produce unique large-format works and aim for institutional collections, the traditional gallery remains the most suitable channel. If you produce editions, multiples or objects at the border between art and design, edition platforms and creative agencies are relevant paths. If you seek comprehensive strategic support without being tied to a physical space, the gallery without walls or the independent curator may suit you.

The essential question is not "which intermediary is the best" but "which intermediary is the best for me right now." Your career will evolve, and your intermediation needs will evolve with it. Artist Olafur Eliasson works simultaneously with several galleries, a production studio and institutional partners. At your scale, you can also combine several types of intermediaries, provided you manage exclusivities and potential territorial conflicts.

06Negotiating with new intermediaries

The rules of negotiation with new intermediaries are not the same as with a traditional gallery. With a classic gallery, terms are relatively standardised: 50 percent commission, geographic or total exclusivity, contract duration, consignment conditions. With new intermediaries, everything is open to negotiation because the models are still being built.

The essential points to clarify are the commission or payment structure, the rights to use your images, any exclusivity on certain channels or product types, the length of commitment, and intellectual property. Do not sign anything without reading and understanding every clause. Artist Barbara Kruger, known for her attention to words and contracts, has always insisted that legal clarity protects artistic freedom.

On Artedusa, you retain control of your direct relationship with collectors while benefiting from the visibility of an international platform. It is an intermediation model that respects your autonomy as an artist and allows you to combine this presence with other forms of intermediation, without conflict and without constraining exclusivity. The intermediary landscape has grown more complex, but this complexity is also a richness: you have more options than ever to build a bespoke career.