Introduction
In today’s art world, artists and galleries are international. We are witnessing the globalization and digital transformation of the art industry, with reports from Artsy and Art Basel & UBS indicating that around 80% of art acquisitions occur digitally. Those without a digital presence and strategy are left out, competing only locally and regionally.
While there’s a mass production of “artists” and “art,” the number of available galleries is limited. Thousands graduate from art schools annually, while more galleries close each year. Galleries are selective with representations due to the financial risk associated with emerging artists, preferring established or mid-career artists who are recognized brands in the market requiring less investment for positioning or marketing.
The primary challenge for contemporary artists is learning about sales strategies, digital marketing, content creation, and brand positioning. Galleries face enormous challenges similar to international organizations: teams, artists, national and international collectors, gallery and museum exhibitions, events, fairs, auctions, partnerships, media relations, editorial matters, websites, social media, logistics, financial planning, and more.
For Mexican galleries, the main challenge is entering the international market. According to art economist Magnus Resch, Mexico’s art industry holds less than 1% of the global art market sales in 2024. Mexican artists need to find channels to reach international markets.
Present
Regular galleries, or art stores, work with artists’ current works. Their business model involves selling available pieces; they sometimes host group exhibitions with many artists and works. Their strategy is to sell, regardless of the piece or buyer; artists are part of a model that favors the so-called galerista (actually, a commission-based agent) rather than the artists themselves. If one believes high-volume sales make them a good option, they’re mistaken, but that’s what’s abundant. Their commissions are as high as those of regular galleries, but without the same benefits. They collaborate.
Present and Future
Good galleries work with artists’ present and future. They understand contemporary creators and their market and industry prospects in the medium term. They typically plan well-curated individual exhibitions with professional teams, either in galleries or museums. They focus on artist positioning through exhibitions, fairs, auctions, and international markets. They distinguish themselves by supporting artists in creating artistically and financially viable series. They represent.
Present, Future, and Past
Exceptional galleries work with artists’ present, future, and past. These organizations or gallerists understand that the more organized an artist’s history is, the more holistically they present in the present and the greater their future prospects. They comprehend artists not only today but throughout all stages, supporting them with gallery and museum exhibitions, distinguished collections, fairs, auctions, partnerships, media exposure, curators, work teams, digital strategies… Artists have global representation.
Reflections
The more artists a gallery represents, the less meaningful its representation. Gagosian, for example, has around 250 artists across 19 locations, averaging less than 15 per gallery. The international standard for a mid-sized single-location gallery is between 20 and 40 artists. How can there be pseudo-galleries in Mexico with 100, 150, 200, or even 300 artists? Magical Mexico.
The pressing question is: how many exceptional galleries do we have in Mexico? We are few. The significant challenge for Mexican galleries is institutionalization and internationalization.
This should not discourage artists but encourage them to professionalize and develop skills beyond the studio, as Mexican galleries face a stagnant period.
*The author is the founder and director of international contemporary art gallery HECTOR DIAZ
For more information: www.hectordiaz.art
