Working with
Galleries & Venues

Galleries are sales channels, not career managers. A gallery that sells your work is doing its job; what it owes you beyond that — exposure, promotion, collector development, market positioning — varies enormously by the gallery's type, size, and business model. Understanding what galleries can and cannot provide helps you approach them with realistic expectations and negotiate terms that serve both parties.

1. Research the gallery before approaching
   Visit the gallery (in person if possible, online always). What medium and style do they represent? What price range? What is their collector base? Is your work actually a fit? A portfolio submission to a gallery that clearly doesn't show your type of work signals that you didn't do your homework — and wastes both your time and theirs.
2. Send a professional email submission — not a cold walk-in
   Most galleries specify their submission process on their website. Follow it exactly. If they accept email submissions: include a brief (2–3 sentence) artist statement, your website link, 5–8 high-quality images (JPG, not PDFs), and a short note about why your work fits their program. Total email: under 500 words. One round of attachments only.
3. Time your outreach strategically
   Most galleries plan their exhibition calendars 6–12 months in advance. Reaching out in October about a show you'd like in December of the same year is too late. Approach galleries in January–March for fall exhibitions; September–November for spring exhibitions. This aligns with how galleries actually work.
4. Follow up once, professionally, after 3–4 weeks
   If you haven't heard back in 3–4 weeks, send one brief follow-up: "I'm writing to follow up on my portfolio submission from [date]. I'd love to know if my work is a potential fit for your program. Thank you for your consideration." Then accept their response — or silence — graciously.
5. Build relationships before you need them
   The most effective gallery outreach isn't a cold submission — it's a conversation that began months earlier. Attend openings at galleries you're targeting. Follow them on social media and engage genuinely. Purchase a piece from an artist they represent if you're able. When you submit, you're no longer a stranger.

A consignment agreement is the legal document that governs what happens when your art is in someone else's possession for sale. Every piece of artwork you leave at any gallery, venue, restaurant, or shop must be covered by a written consignment agreement — even with people you trust. Verbal agreements are unenforceable in most disputes.

Pop-up exhibitions and self-produced shows are increasingly viable alternatives to waiting for gallery representation. Artists who self-produce their exhibitions keep 100% of sales, control the narrative, build direct collector relationships, and learn event production skills that are valuable for larger opportunities.