One of the questions I hear regularly from artists—especially as holiday group show season ramps up—is: Are paid juried art shows worth it? Many artists wrestle with whether these opportunities are a genuine way to advance their careers or simply a revenue stream for organizers and galleries.
Let’s look squarely at the realities and how you can approach these shows with eyes wide open and your budget safe.
Where Entry Fees Go and What They Really Buy You
It’s true: Some galleries and organizations make significant income from non-refundable submission fees. With $20–$50 per entry (sometimes more), even a modest turnout means thousands in revenue before a single painting hits the wall or virtual space. If there are limited spots available, your chances of selection could indeed be slim, leaving many artists paying for the hope of exposure and the actual benefit limited to a handful.
As a gallery owner, I've run calls-for-entry (both for pop-ups and juried group events). I can tell you that, at their best, these fees help manage high submissions and offset real labor and marketing expenses. At their worst, they become a disguised fundraising tool with only token benefit for most applicants. The uncomfortable fact: the gallery or organization almost always comes out ahead financially, while artists are left with a letter of regret, or—at best—a line on a resume.
The Resume Trap (and When It’s Useful)
Early in your career, being juried into respected group exhibitions can boost your resume and help build credibility with collectors and galleries. But avoid chasing resume lines out of habit: once you have a few strong juried shows or awards, the impact of another becomes negligible. Remember, exposure only goes so far.
Sales: A Rarer Outcome Than You’d Think
Don’t count on selling work through most juried events, especially online ones. Some artists do make sales (and you’ll hear enthusiastic stories), but the statistical reality is that sales are the exception, not the rule, at these shows. That said, physical, well-promoted shows at reputable venues—especially those with a lengthy track record of direct sales and a strong local audience—can be a good calculated risk. Ask around for real outcomes from other artists before applying.
Budgeting for Jury Fees: My Practical Approach
Treat these expenses like advertising: decide what you can afford to “lose” in the service of exposure or new connections. Set a specific annual limit for submission fees, and stick to it. Don’t let FOMO (fear of missing out) push you into spending hundreds over the year “just in case.”
Before applying, ask yourself:
- Would acceptance here matter to my target galleries or collectors?
- Does the show regularly deliver sales or real career momentum for artists at my level?
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Is this a quality organization with transparent practices?
Do your homework—search for past exhibitor lists and contact artists directly for honest feedback.
The Bottom Line:
Paid juried shows can offer resume value and—occasionally—sales, but they’re rarely the golden ticket they’re marketed as. Enter selectively, budget carefully, and keep your expectations realistic.
Takeaway: Don’t default to “yes” on every call for entry. Instead, make participation in paid juried shows part of a considered, limited strategy—not the foundation of your art business plan.
Question:
How have paid juried shows impacted your career—did they move the needle for you, or not? Have you found any memorable (positive or negative) surprises? Share your experience in the comments below.
This article is exactly what I needed to read. I participate in multiple juried shows each year, some with results and others, not so much. Lately, even the shows that I used to very well in have lacked in sales. When I voiced to my art friends that I was cutting back on the number of shows, I was met with a chorus of woeful warnings about missing out on exposure. I was seeing that my out lay was pushing me far into the red. I will print out this article and show it to the doubters.
I’m printing to save it and share with the artists in our Collective. I always look at it as a revenue stream for the gallery/organization. I have a few I’ve done where that I think are worth it for the line on the resume, like a museum show.
My focus is to sell, but I also want to paint only what I love. It’s a bit of a balancing act. I quit painting New Orleans musicians, as much as I love our music and its creators, bc I just got burned out on it. And I made a lot of money every year at JazzFest , like half my annual income, with that body of work, but I just couldn;t do it anymore. I had to move on and we’ll see how it goes. It’s hard to tell since the economy is down.
I’ve applied for juried shows in the past and still do today. However, I am selective and only submit when I think I have work that truly fits the call. That has served me well and my acceptance rate is reasonably high. One of my consistent goals has been to exhibit in three new venues a year from across the country because I wanted my CV to appear less like a “local” artist and more like a “national” artist, and I have garnered awards from these exhibitions — something else to build the resume. For me, it has worked well and I now exhibit in three galleries in various cities and states. The value in these juried opportunities probably depends on what you want to gain from them.
I’ve paid a few entry fees and received some ribbons, but never sold any artwork at that kind of show. I try to think of it the way I do my sport. My horseback riding instructor said I should spend my time improving my skills, not chasing ribbons.
I enter two or three juried shows a year, usually locally in the county in which I live. For me, it is a motivator to keep painting and to staying in touch with the public during the openings. I have yet to sell a painting at a juried show, but I do always feel proud of my paintings and am happy to have them up on a wall. What I really enjoy is showing my paintings in Member Shows in the galleries where I am a member. The quality of the art is usually better in the Member Shows and the attendees are more inclined to be artists or interested in seeing higher quality artwork. I probably pay around $250 to $300 per year for entry and member fees. I always enjoy visiting with other artists while listening to them talk about their techniques and their choices of themes. Thanks always for your comments and suggestions!!
I apply for juried shows where I know the fee is to cover cost and set a budget for next year. I avoid juried shows that capture $1,000’s of dollars in profits and do little or nothing in way of promotion or publicity. I have been awarded cash prizes, some sales that’s about it. I am leery to enter high end expensive juried shows.
Great article! And a necessary one. Other questions to ask yourself before you send out your entry: who are the jurors of entry who will jury your work in or out? Ask if it’s not clear. If it’s staff/committee members for an event, a single person, or “friends of the gallery,” that might not be a great choice. Or it might be fabulous. Look at their previous shows to give you a feel for how the show will present. Would this be a show where your style would show well and your customers are likely to find you? Will they depend on your advertising for customers?
If it’s a very large, prestigious show, bear in mind there may be some 1500 entrants who think their work is equal to the quality of previous shows and present well…but the show will only select the top 200 or less because that’s all the space their sponsoring gallery has to offer. Yes, getting into that kind of show may be great for your resume and your career in general!
Plein air shows are a subject all their own, but some of these principles still apply.
I currently have a sculpture in a juried show with a small entry fee. It is also a competition with judging and awards, and the organizers explain that the fees cover advertising, payment to the judges, and cash awards. It is a reputable organization, supported by our municipal government, and audited annually. I am comfortable with this. All items entered are required to be for sale, but given your comments here, Jason, I don’t expect to sell it. Thanks for the quality advice!
Thank you for the insights on this topic. I have been submitting to juried exhibits for the past two years. So far, I’ve been accepted into 13 shows this year but have only sold three pieces in the past year through these shows. Nonetheless, I feel the exposure is worth it at this stage (I am in the process of jumpstarting my artwork practice after a career in an unrelated field). My primary focus has been in building my portfolio until I am ready to start approaching galleries for representation. I do try to be selective in what shows I consider. I like to check out the venue and the juror(s) as this can give one a better sense of whether or not the opportunity is a good fit for your work. As Gwen mentioned, looking at previous shows is also a good way to see if your work might be appropriate. I anticipate backing off on juried shows after I am able to secure gallery representation.
I am glad to read this. I started being more selective a few years ago when I realized how much I was spending on submission fees. These days it really has to be a special venue, a museum, or a friend’s gallery before I’ll consider applying. I think we have to evolve, and focus on forward momentum, rather than broad exposure.
I used juried shows when my art career was adjunct to my arts education career. It allowed me to maintain a kind of art presence. I carefully chose only juried shows or juried divisions in a larger regional arts celebration. I approached only national shows and ones that appeared to be a match of theme, media, inclusion.
Currently, seeking gallery reputation, I still usea couple of juried shows to keep my CV chronological. An old habit but one that has been successful.
As others have said, choose wisely and do research.
I rarely apply for juried shows anymore. If there are catalogs from past shows I’ll look at those to see what kind of work was juried in, as well as the prices of pieces. I’ll also look at who the judges are and the painting or genre they are into. Exposure works best when it’s repeated. The biggest deterrent is the cost of shipping. Pieces are rarely bought in shows. So in addition to application fees, I’m looking at shipping to and from the venue.
I’ve currently belong to The International Guild Of Realism. Besides the large yearly membership fee, there are of course the juried online and in-person shows which also have fees. Then too, when my work is accepted, there are travel expenses to attend the reception. At first, being part of this group garnered some respect and attention. I’m not so sure it’s worth it to stay in, as most of my buying audience is local.
Does the same filter apply? Is it worth the fee to be able to name drop membership in a prestigious entity?