The Art Market Review

Part VI — Gallery Strategy · Diagnostic A-03

Which gallery strategy
does your situation
require?

Whether you have no representation, are seeking a gallery, exhibit on informal terms, or are already represented — this diagnostic maps your exact situation and produces five actions calibrated to your path.

Gallery Strategy Diagnostic — Part VI

A structural analysis of your gallery relationships and commercial model.

Whether your current model — independent, represented, or hybrid — is correctly structured for your career stage and objectives.

What this diagnostic maps

Model fit

Whether your current selling model matches your career stage and commercial ambitions.

Gallery alignment

Whether your gallery relationship is producing what your practice actually requires.

Collector ownership

Whether you retain strategic control over your collector relationships.

Commercial structure

Whether your terms, pricing, and exclusivity arrangements are clearly defined.

What you will receive

— A gallery model structural profile
— Identified structural misalignments
— 3 sequenced strategic priorities
— 3 immediate actions
— Workbook references per gap

Before you begin

— Have your Part III (A-01) output accessible
— Read Part VI before opening this diagnostic
— Confirm your Infrastructure Audit (Part V) has no unresolved Critical items
— Approximately 20 to 30 minutes

Step 2 of 7 — Your Current Situation

What is your current
situation with galleries?

The diagnostic branches into four distinct paths depending on where you are in your gallery trajectory. Each produces a different analysis and different strategic priorities. Choose the description that most honestly reflects your situation right now.

I do not have gallery representation

Independent artist — all sales are direct. No formal gallery relationship in any market. Seeking representation or evaluating whether to pursue it.

I exhibit occasionally with galleries but have no formal representation

I have shown work with one or more galleries on a project basis — group shows, consignment, or one-off exhibitions — but there is no exclusivity agreement, no formal contract, and no ongoing commercial commitment from either side.

I am actively preparing a gallery submission

I have identified target galleries and am working on my approach. I may or may not currently have representation.

I am currently represented by a gallery

I have an active representation relationship — exclusive or non-exclusive. I want to assess how it is performing and whether it is generating the value it should.

Please select your situation to continue.

Step 2 of 7

Step 3 of 7 — Goals and Geography

What kind of representation
are you looking for?

The type of representation you are seeking and the markets in which you are seeking it directly condition the gallery targeting and submission analysis that follows. A Paris gallery seeking international collectors is a different Tier 1 target from a New York gallery looking for new European voices.

Question — Representation objective

What is your primary representation objective?

First gallery relationship

I have no current representation. I want to establish a first professional gallery relationship in my primary market.

Move to a stronger gallery

I am currently represented but at a level below where my career is heading. I want to move to a gallery with greater market infrastructure.

Expand to a new market or territory

I already have representation in one market and want to add a gallery in a different geography or collector base.

Assess whether representation is the right move at all

I am not certain gallery representation is the right step for my practice at this stage. I want to evaluate the decision before pursuing it.

Please select one option.

Question — Geography of current activity

Where is the primary geographic base of your current market activity — where most of your sales, exhibitions, and professional contacts are located?

France / French-speaking markets

Europe (outside France)

United States

United Kingdom

Asia-Pacific

Other / international base

Please select one option.

Question — Target geography

Where are you specifically looking for gallery representation? Select all that apply.

France

Paris primary market, regional galleries

Western Europe

Germany, Belgium, Netherlands, Switzerland, Italy, Spain

United Kingdom

London primary market

United States — New York

The primary US market; distinct collector infrastructure from other US cities

United States — other cities

LA, Miami, Chicago, Dallas, etc.

Asia-Pacific

Hong Kong, Tokyo, Seoul, Singapore

Middle East or Latin America

Why geography matters for targeting

A gallery that shows at Art Basel Paris and has a primarily European collector base is a structurally different target from a gallery showing at Frieze New York with an American collector network. Geographic alignment between your practice's existing collector traction and the gallery's collector base has become more consequential since 2022, as sales have localised across all market segments.

Please select at least one target geography.

Step 3 of 7

Step 2 of 6 — Your Objective

What are you
looking for?

Your objective determines the diagnostic path. Seeking gallery representation and evaluating whether representation is the right step require fundamentally different analyses.

I want to find gallery representation

I want to identify which type of gallery is appropriate for my current commercial profile, and understand what I need to prepare before approaching them.

I want to assess whether gallery representation is the right move

I am not certain a gallery relationship would improve my situation. I want to evaluate the decision structurally — based on my current sales, objectives, and what a gallery would actually change.

Please select one option.

Step 2 of 6

Step 2 of 6 — Your Informal Gallery Relationships

What is the nature of your
gallery experience so far?

Exhibiting with galleries without formal representation is a common and legitimate stage. The diagnostic question is whether these relationships are building toward something structural — or whether they are consuming your time and inventory without producing career infrastructure.

Type of gallery interaction

How have you typically worked with galleries so far? Select all that apply.

Group shows — I have been included in curated or thematic group exhibitions

Consignment — a gallery holds some of my work and sells it if they can

Project-based — one-off exhibition or collaboration with no ongoing commitment

Pop-up or salon — temporary selling contexts, shared booths, open studios organised by a gallery

Rental or pay-to-exhibit — I paid for wall space or exhibition costs

Please select at least one option.

Commercial outcome

Have these gallery interactions actually generated sales?

Yes — multiple sales through gallery channels

The gallery or galleries have sold my work to collectors I did not previously know.

Yes — a few sales, mostly to people in my existing network

Sales occurred through the gallery context, but the buyers were largely people who already knew my work.

No — exhibition exposure but no sales resulted

The gallery provided visibility, but no confirmed transactions followed.

Please select one option.

Your objective

What are you looking for now?

I want to move toward formal gallery representation

I want to understand which type of gallery is appropriate for my profile and how to transition from informal to structured representation.

I want to assess whether formal representation would improve my situation

I am not sure whether a formal gallery relationship would be better than continuing with informal arrangements and direct sales.

I want to optimise my current informal model

I am comfortable without formal representation but want to make my current gallery relationships more productive.

Please select one option.

Important: Any gallery that requests payment from you for exhibition costs, wall space, or "promotional packages" is not operating as a professional gallery — it is operating as a rental space. Legitimate galleries fund their exhibitions through sales commissions, not artist fees. This is a non-negotiable red flag.

Step 2 of 6

Step 3 of 6 — Your Commercial Profile

What does your commercial
track record look like?

The gallery tier appropriate for your practice is determined by your commercial data — not by ambition or aesthetic quality. These questions establish where you sit in the market's architecture, which directly determines which galleries are structurally realistic targets.

If you have completed the Part III Self-Positioning Diagnostic: use the figures from that output directly here. Sell-through rate, median sale price, and annual production volume are calculated there — do not re-estimate, use the precise figures. These three inputs carry the most weight in the gallery tier calculation below.

1 — Sell-through rate

Of the works you made available for sale in the last 12 months, what percentage sold within 6 months?

Above 70%

The clearest commercial signal — demand is consistently outrunning supply at current prices.

50–70%

Solid. Sufficient to demonstrate commercial viability to most galleries.

30–50%

Acceptable but weak. Galleries will need to carry the full commercial risk on their side.

Below 30%

Insufficient at current prices — pricing exceeds confirmed demand.

I do not track this

This absence is itself diagnostic. Begin tracking before any gallery submission.

Please select one option.

2 — Median sale price

What is your median sale price over the last 24 months? Use the middle value of your last 15–20 transactions — not your highest price.

Under €1,000

At this level, the 50% gallery commission structure is not economically viable for either party. Price development through direct sales is the prior step.

€1,000–3,000

Entry range for emerging gallery representation. Viable but tight — requires high sell-through to cover gallery operating costs.

€3,000–8,000

Commercial threshold where gallery representation becomes structurally viable. This range aligns with emerging to young gallery programmes.

€8,000–15,000

Mid-tier gallery range. Galleries with established collector networks and regular fair participation operate primarily in this bracket.

€15,000–35,000

Upper mid-tier. Galleries at this level have significant infrastructure, institutional relationships, and participate in major fairs.

Above €35,000

Major gallery territory. Requires documented auction record, institutional acquisitions, and significant critical presence.

Please select one option.

3 — Annual production

How many market-ready works do you produce per year? Fairs represent 35% of dealer turnover — a gallery needs reliable inventory.

Fewer than 8 works per year

Limited by medium, scale, or process. Gallery fair and exhibition frequency would be constrained — an artist who produces 6 works per year cannot supply a gallery that participates in 4 fairs annually.

8–15 works per year

Sufficient for most emerging and young gallery programmes. Compatible with 2–3 fair participations and one solo exhibition per year.

15–25 works per year

Strong production. Compatible with active mid-tier gallery programmes that participate in multiple fairs and maintain consistent exhibition cycles.

More than 25 works per year

High output. Can support a gallery with intensive fair presence and multiple exhibition contexts simultaneously.

Please select one option.

4 — Fair participation

In the last 24 months, have you participated in art fairs — as an exhibitor, with a gallery for a group booth, or in an artist-run shared booth?

No fair participation

No direct experience of the fair commercial environment.

As a visitor only

I attend fairs but have not exhibited.

1–2 fairs as an exhibitor

Some direct fair experience — either in a shared booth, an artist-run fair, or through a gallery.

3 or more fairs as an exhibitor

Substantial fair experience. Demonstrated compatibility with fair commercial logic.

Please select one option.

5 — Institutional presence

Do you have institutional acquisitions or exhibitions on your record?

Yes — institutional acquisition (museum, FRAC, public collection)

The strongest institutional signal. An acquisition by a recognised institution validates your work to both galleries and collectors.

Yes — institutional group show or residency with exhibition

Institutional exhibition context provides critical validation, even without an acquisition.

No institutional presence yet

Not a disqualifying factor for emerging galleries, but required for mid-tier and above.

Please select one option.

6 — Press and critical coverage

What level of press coverage has your work received?

Significant — publications read by collectors at my tier

Coverage in publications that the collector base of your target galleries actually reads.

Some coverage — local or specialised press

Coverage exists but may not reach the collector tier that mid-tier or major galleries serve.

None or minimal

Not a barrier for emerging galleries, but a gap to close before approaching established programmes.

Please select one option.

Step 3 of 6

Step 4 of 6 — Geography

Where are you based
and where are you targeting?

Geographic alignment between your existing collector traction and a gallery's collector base has become more consequential since 2022, as sales have localised across all market segments. 71% of sales went to local collectors for the smallest dealers in 2025.

Geography of current activity

Where is the primary geographic base of your current market activity?

France / French-speaking markets

Europe (outside France)

United States

United Kingdom

Asia-Pacific

Other / international base

Please select one option.

Target geography

Where are you specifically looking for gallery representation? Select all that apply.

France

Paris primary market, regional galleries

Western Europe

Germany, Belgium, Netherlands, Switzerland, Italy, Spain

United Kingdom

London primary market

United States — New York

The primary US market; distinct collector infrastructure from other US cities

United States — other cities

LA, Miami, Chicago, Dallas, etc.

Asia-Pacific

Hong Kong, Tokyo, Seoul, Singapore

Middle East or Latin America

Please select at least one target geography.

Step 4 of 6

Path A · Step 4 of 7 — Your Current Practice

What does your practice
look like right now?

Before evaluating whether gallery representation is the right move, it is necessary to understand the structure of your current situation — how you sell, who buys, and what is actually working.

Assess.1 — Current sales model

How do you currently sell your work?

Direct studio sales only

All sales happen through direct contact — studio visits, personal network, social media. No intermediary channel.

Primarily through online platforms or artist-run channels

Artsy, Saatchi Art, own website shop, or similar. The primary sales infrastructure is self-managed digital.

Occasional group shows with galleries — no formal representation

I participate in group exhibitions with galleries but have no ongoing representation agreement.

Mixed — a combination of the above

Please select one option.

Assess.2 — Who is buying

Who are the people currently acquiring your work?

Primarily personal network — friends, family, acquaintances

Buyers are people who know me personally. Few or no arms-length transactions.

Local collectors — people who actively collect art

Some buyers are genuine collectors who found my work through channels rather than personal connection.

Serious collectors — some with significant collections

Multiple buyers have documented collections. Some have also bought through galleries.

I do not have clear information about my buyers

Please select one option.

Assess.3 — Price level

What is the typical price range for your current work?

Under €1,000

At this level, professional gallery representation is structurally very difficult — gallery economics (50% commission, fair costs) are hard to sustain.

€1,000–3,000

Entry range for emerging gallery representation. Viable but tight — requires high sell-through to cover gallery operating costs.

€3,000–8,000

Commercial threshold where gallery representation becomes structurally viable for both artist and gallery.

Above €8,000

Strong pricing position — gallery representation is commercially viable and beneficial for market credibility.

Please select one option.

Step 4 of 7

Path A · Step 5 of 7 — Your Actual Objectives

What are you actually
trying to achieve?

Gallery representation is not a universal good. Whether it is the right move depends entirely on what you are trying to achieve — and whether a gallery relationship is structurally capable of delivering it.

Assess.4 — Objectives

What outcomes are you seeking over the next 2–3 years? Select all that apply.

Critical recognition and institutional visibility

I want my work seen and validated in institutional contexts — museums, residencies, publications, biennales.

Access to serious collectors and a broader buyer base

I am currently selling to people who know me personally and want to expand beyond that to genuine arms-length collectors.

Price development and market credibility

I want my prices to move upward in a way the market recognises as legitimate. Gallery representation is one mechanism for anchoring that credibility.

Sustainable income from my practice

I want my practice to generate consistent, reliable income — enough to reduce or eliminate dependence on other revenue sources.

Fair presence and international visibility

I want my work seen at major art fairs. Gallery representation is the main access route to fair programming.

Please select at least one objective.

Assess.5 — Structural gaps

What are the most significant structural gaps in your current situation? Select all that apply.

Access — I cannot reach the collectors, curators, or institutions that matter through my current channels

Credibility — my work is seen but not taken seriously in the right contexts

Commercial infrastructure — I am selling but without the pricing, documentation, and market architecture that makes sales compound

Visibility — the right people simply do not know my work exists

Please select at least one structural gap.

Assess.6 — Approximate sell-through

Of the works you made available in the last 12 months, roughly what proportion sold?

Above 60%

30–60%

Below 30%

I do not track this

Please select one option.

Step 5 of 7

Path A · Step 6 of 7 — Infrastructure and Record

What is the state of
your professional infrastructure?

The decision of whether to pursue representation now — and with what urgency — depends in part on whether your professional infrastructure and exhibition record can support a credible submission.

Assess.7 — Professional infrastructure

How would you describe your current professional infrastructure?

Strong — professional photography, strong CV, consistent prices, functional website

Partial — some elements are at standard, others are not

Weak — most elements are below submission standard

Please select one option.

Assess.8 — Exhibition record

How would you describe your current exhibition record?

Strong — solo shows, institutional group shows, credible curatorial contexts

Developing — group shows with commercial galleries, artist-run contexts, residency exhibitions

Early — primarily self-organised or informal exhibition activity

Please select one option.

Assess.9 — Time horizon

Over what timeframe are you planning this decision?

Immediate — within the next 6 months

I want to move quickly — I am ready to submit or evaluating an offer currently on the table.

Near term — within the next 12 months

I am preparing systematically and want to be in a position to approach galleries within a year.

Medium term — 2–3 years

I am thinking structurally about my career arc and want to understand what representation requires before pursuing it.

Please select one option.

Step 6 of 7

Path B · Step 2 of 5 — Gallery Targeting

Evaluate your target
gallery against the five criteria

Before any submission strategy, evaluate the fit of your primary target. A submission sent to a gallery that is structurally wrong for your practice is not just inefficient — it uses up the introduction capital that is your most valuable strategic resource.

What the three tiers mean — Chapter 32

Tier 1

3–5 galleries maximum

Active pursuit. All or nearly all five fit criteria are met. This is where you invest your submission effort, warm introduction work, and professional preparation. A Tier 1 list of more than 5 galleries has not been assessed rigorously enough.

Tier 2

5–10 galleries

Monitor and build toward. Two to three fit criteria are met — this gallery is a realistic future target once specific gaps are closed. The most useful output of tiering is identifying exactly what prevents a Tier 2 gallery from being Tier 1.

Tier 3

Reference points only

Structural mismatch — price range, programme, geography, or financial health creates a fundamental incompatibility. Useful as a market reference point but not a realistic current target. No active submission effort should be invested here.

B1.1 — Five-variable fit assessment

Fit Assessment — Submission Target —

Price tier alignment

My median price sits within their programme range without creating a tier conflict at either end

Programme coherence

My work adds to their programme without duplicating an existing roster artist whose practice is too close to mine

Geographic alignment

Their collector base geography is relevant to where my work has traction or where I want to develop it

Fair access at my tier

They participate in fairs where my work would transact comfortably, not where it would be anomalous

Apparent financial health

Active, recent programme activity — no visible signs of operational distress

Fit Score

— Not assessed

Step 2 of 5

Path B · Step 3 of 5 — Introduction Strategy

How will you arrive
at this gallery?

Select the highest-ranked introduction path available to you for this gallery. The hierarchy is ranked by effectiveness — choose the best option genuinely available, not the one you wish were available.

B2.1 — Highest available introduction path · Select the most effective option genuinely accessible to you

Collector introduction

A collector who has acquired my work has a working relationship with this gallery

—

Curator or institutional introduction

A curator who has included my work has a relationship with this gallery

—

Artist introduction

A gallery roster artist knows my practice and could introduce me to their director

—

Fair or exhibition encounter

I have had a direct conversation with a director from this gallery at a fair or opening

—

Institutional referral

A residency director, programme head, or figure whose opinion this gallery respects can make an introduction

—

Cold submission

None of the above are available — I would be submitting without any prior relationship

8% success rate

Please select the introduction path available to you.

Step 3 of 5

Path B · Step 4 of 5 — Submission Verification

Is your submission
ready to send?

A submission that reaches a gallery director through a warm introduction but fails on professional infrastructure squanders the advantage the introduction created. Verify each element before sending.

B3.1 — Submission materials check · Mark each that is genuinely at standard

Professional photography — all works in the dossier documented at submission standard

CV edited to quality threshold — strong entries only, no diluting items

Complete price list included — this is the single most commonly missing element (32% of failures)

Artist statement — 100–150 words, precise language

Cover email with four required elements: who I am, why this gallery specifically (programme reference), what I am asking, my current market situation

Submitted in the gallery's preferred format (verified on their website)

B3.2 — Follow-up plan

What is your plan if you receive no response?

One follow-up after 4–6 weeks, then I treat silence as a decline

The correct protocol. One follow-up only. Three weeks after that with no response = declined.

I would follow up multiple times until I receive a response

This damages credibility. Multiple follow-ups signal either desperation or poor professional judgment.

I would not follow up — I would wait for them to respond

Passive. One professional follow-up is appropriate and expected.

Please select one option.

Step 4 of 5

Path B · Step 5 of 5 — Commercial Readiness

What commercial evidence
will you bring to the conversation?

A submission that addresses only aesthetic criteria without demonstrating commercial viability forces the gallery to assume the full commercial risk. Identifying what evidence you have — and what is missing — is part of the submission strategy.

B4.1 — Commercial evidence available · Check all that you can substantiate with actual data

Documented sell-through rate — I can state a specific percentage and how it was calculated

Named collector base — I can identify specific collectors and their profile (without sharing confidential information)

Repeat buyers — collectors who have acquired more than once in the last 24 months

Institutional acquisition or exhibition — a museum, kunsthalle, or institutional credit on my CV

Substantial press — critical coverage in publications read by the collector tier this gallery serves

Step 5 of 5

Path C · Step 2 of 5 — Gallery Performance

Is your gallery
generating the value it should?

Answer based on what is demonstrably true — not on the relationship you wish you had, not on loyalty, and not on what the gallery has promised to do. Each criterion corresponds to a specific commercial or professional obligation.

C1.1 — Gallery performance criteria · Check everything that is actually, demonstrably true

My gallery includes my work in at least 2–3 fairs per year

My gallery has sold work of mine within the last 12 months

Payments from my gallery arrive within the agreed contractual timeframe

My gallery has introduced me to collectors I did not previously know

My gallery communicates proactively about my work without me having to follow up

My prices have increased at least once since I began working with this gallery

My gallery has introduced me to at least one curator or institutional contact

I receive a solo or featured group show at this gallery at least once every 18 months

Performance criteria met 0 / 8

C1.2 — Relationship trajectory

Compared to 18 months ago, how would you characterise the direction of this relationship?

Improving — more activity, better communication, growing commercial results

Stable — consistent, not growing but not declining

Declining — fewer exhibitions, less communication, slower or no sales

Too recent to assess — the relationship began less than 12 months ago

Please select one option.

Step 2 of 5

Path C · Step 3 of 5 — Contract Terms

What do your contract
terms actually say?

The contract's terms define the operating conditions of your relationship. Many artists cannot answer these questions because they signed without reading carefully. If you cannot answer, that gap is itself diagnostic.

C2.1 — Exclusivity scope

What does your exclusivity cover?

Territorial — exclusive rights within a defined geographic area only

You retain freedom to work with other galleries in other territories.

Channel-based — exclusive rights over specific channels (fairs, institutional)

You retain ability to sell independently outside the defined channel.

Production — priority or exclusive rights over my entire output

All works must be offered first to this gallery. Most restrictive form.

Undefined or unclear — I do not know precisely what my exclusivity covers

This ambiguity needs to be resolved. Vague exclusivity benefits neither party.

Please select one option.

C2.2 — Contract essentials · Check the elements that are explicitly defined in your written agreement

Contract duration and renewal terms — a defined period, not open-ended

Notice period for termination — explicitly defined (standard: 60–90 days)

Payment timeline — defined in writing (standard: 30–60 days from collector receipt)

Minimum activity commitments — number of shows, fair participation, in writing

Consignment register — documented record of all works held by the gallery

C2.3 — Payment practice vs. contract

How does actual payment timing compare to the contractual obligation?

Payments arrive within the agreed timeframe — consistently

Occasional delays — not systematic, addressed when raised

Frequent delays — I regularly have to follow up for payment

I do not have a clear contractual payment timeline to compare against

Please select one option.

Step 3 of 5

Path C · Geographic Expansion

Where should you
look for a second gallery?

Adding a gallery in a complementary territory can expand your collector base, raise your geographic pricing ceiling, and provide fair access in markets your current gallery does not cover. But it requires careful alignment — the two galleries must operate at compatible price levels and serve non-overlapping collector pools.

Current territory

In which geographic market does your current gallery primarily operate?

France / French-speaking markets

Europe (outside France)

United States

United Kingdom

Asia-Pacific

Other

Please select one option.

Target expansion territory

Which geographic markets are you considering for a second gallery? Select all that apply.

France — Paris primary market

Western Europe — Germany, Belgium, Netherlands, Switzerland

United Kingdom — London

United States — New York

United States — other cities (LA, Miami, Chicago)

Asia-Pacific — Hong Kong, Tokyo, Seoul, Singapore

Middle East or Latin America

Please select at least one target territory.

Median sale price

What is your current median sale price? This determines which gallery tier is viable in the target territory.

Under €3,000

Below gallery viability threshold in most markets.

€3,000–8,000

Emerging gallery range.

€8,000–15,000

Emerging to mid-tier transition.

€15,000–35,000

Mid-tier gallery range.

Above €35,000

Upper mid-tier to major gallery range.

Please select one option.

Path C · Step 4 of 5 — Problem Signals

Episodic or structural
— how do you read the signals?

The most important diagnostic question is whether problems in your gallery relationship are episodic — addressable through a direct conversation — or structural, reflecting the gallery's actual capacity or direction. Any pattern that has appeared twice will appear again.

C3.1 — Problem pattern assessment · Check any that have occurred more than once in the last 18 months

Consistent payment delays across multiple sales — not a single incident

Declining sell-through rate over consecutive exhibition cycles without a clear external explanation

Systematic exclusion from fair programming over more than one year — my work is never in the booth

Visible change in the gallery's commercial focus away from my type of work

Loss of the staff member who championed my work — no equivalent transition

Communication breakdown — I regularly initiate all contact; gallery does not respond proactively

C3.2 — Your relationship duration

How long have you been working with this gallery?

Less than 12 months

1 to 3 years

3 to 5 years

More than 5 years

Please select one option.

Step 4 of 5

Path C · Step 5 of 5 — Economic Reality

What is the gallery
actually generating for you?

The fundamental question is not whether 50% commission is fair in the abstract — it is whether the gallery demonstrably increases your net income through higher prices, greater sell-through, or both. If it does not, commission is not infrastructure leverage. It is margin erosion.

C4.1 — Net income comparison

Compared to what you could generate through your independent channels at the same prices, how does your gallery relationship affect your net income?

Clearly increases net income — through higher prices, higher sell-through, or new collector access

The commission is generating a positive return on exclusivity.

Roughly neutral — the commission is offset by marginal gains in prices or reach

The relationship is neither damaging nor clearly beneficial. A structural conversation is warranted.

Erodes income — I generate less net income than I would independently at the same volume

Commission without commensurate commercial return is a structural cost, not an investment.

I have not calculated this

This calculation is essential. A gallery that is not demonstrably improving your commercial position is consuming exclusivity without delivering it back.

Please select one option.

C4.2 — Your independent sales capacity

Outside the gallery relationship, what is the current strength of your direct sales?

Strong — I consistently sell 50%+ of what I produce through direct channels

Moderate — some direct sales, primarily within my immediate professional network

Weak — I rely primarily on the gallery; my direct channel is underdeveloped

Please select one option.

Step 5 of 5

The Art Market Review — Gallery Strategy Diagnostic · Part VI

Gallery Strategy Diagnosis

Path

—

Assessment

—

Priority

—

01 — Structural Reading

—

02 — Gaps and Risks Identified

What the Data Reveals

These readings are structural — derived directly from your answers calibrated against the frameworks of Part VI. Each gap has a specific response. None are permanent conditions.

03 — Five Strategic Actions

Actions to Take Now

04 — Data to carry forward

Which gallery strategydoes your situationrequire?

What is your currentsituation with galleries?

What kind of representationare you looking for?

What are youlooking for?

What is the nature of yourgallery experience so far?

What does your commercialtrack record look like?

Where are you basedand where are you targeting?

What does your practicelook like right now?

What are you actuallytrying to achieve?

What is the state ofyour professional infrastructure?

Evaluate your targetgallery against the five criteria

How will you arriveat this gallery?

Is your submissionready to send?

What commercial evidencewill you bring to the conversation?

Is your gallerygenerating the value it should?

What do your contractterms actually say?

Where should youlook for a second gallery?

Episodic or structural— how do you read the signals?

What is the galleryactually generating for you?

—

What the Data Reveals

Actions to Take Now

Connection to the Ecosystem

Which gallery strategy
does your situation
require?

What is your current
situation with galleries?

What kind of representation
are you looking for?

What are you
looking for?

What is the nature of your
gallery experience so far?

What does your commercial
track record look like?

Where are you based
and where are you targeting?

What does your practice
look like right now?

What are you actually
trying to achieve?

What is the state of
your professional infrastructure?

Evaluate your target
gallery against the five criteria

How will you arrive
at this gallery?

Is your submission
ready to send?

What commercial evidence
will you bring to the conversation?

Is your gallery
generating the value it should?

What do your contract
terms actually say?

Where should you
look for a second gallery?

Episodic or structural
— how do you read the signals?

What is the gallery
actually generating for you?