How Galleries Select Artists

One of the great mysteries of the art business is how galleries select the artists they represent. The reality is that there are far fewer galleries and far less wall-space than it would take to show the work of all of the artists who would like to show in galleries. It can feel overwhelming to think about the odds that seem to be stacked against you if you are seeking gallery representation.

So what is the process that occurs in galleries as they are selecting new artists to show? It seems like it would be helpful to understand this process in order to prepare your work and submission materials so you can optimize your chances for success.

Unfortunately, there is no such thing as “the process” for selecting artists. Every gallery approaches the question differently. Let’s explore the different review processes and discuss how you can best approach the galleries that employ each.

The Committee Review

committeeSome galleries follow a regimented review process with stringent submission guidelines. This review process is prevalent in the institutional world of museum and academic galleries, but it is also used by some long-established commercial galleries where the leadership structure of the gallery is spread among a number of people rather than being held by a gallery owner or partnership.

When a gallery follows a stringent review process, they typically will post very clear guidelines for artists to follow when preparing submissions. The benefit of this process to the galleries is that it allows for a streamlined and organized review process. The advantage for the artist is that this process provides clear guidelines to follow in preparing a submission.

Often galleries that have a formal review process like this will only review work one or two times per year, giving artists deadlines for submission. A committee of stakeholders will meet to review the submissions and discuss the merits of each submission. Sometimes outside jurors are brought in to participate in the process.

While there isn’t much room for flexibility in the committee review system, I have heard of many instances where exceptions to the process were made when an artist of particular note was sought by the gallery.

A formal review process of this nature is pretty rare in the commercial gallery world, and so most artists in the early or middle phases of a career aren’t likely to encounter it very often. They are more likely to encounter it when entering shows or submitting to museum events.

How to Succeed when Submitting Your Work For Committee Review

There aren’t any real secrets about how to succeed when you are submitting your work for review by a gallery that has a formal submission process. Follow the guidelines provided by the gallery and pay attention to artists who have been accepted in the past. Galleries tend to gravitate toward consistency when selecting artists. You will have the best chance at success if you are submitting work that has common characteristics with other artwork the gallery has shown.

It should go without saying that you will want to make sure that you are submitting your best work and that the photography of your work is of a high quality and captures the subtleties of your art.

The Partner Review

While most galleries don’t follow a strict review regimen, the longer a gallery has been established, the more likely it will be to have some sort of structured review process. Established galleries will typically have an idea of what the best process is for them to consider new artists. Sometimes these galleries will provide artists with a time frame for submissions (often based on the seasonality of the gallery – submission review is frequently deferred until the gallery’s off-season), and with general guidelines to follow.

An established gallery will often have more than one decision maker. Artwork will be reviewed by a gallery director and then presented to the owner(s). Review might occur in a formal meeting, or it might happen via email or during casual interactions. This review process might take only a matter of days, or even hours, or, if the gallery tries to review all submissions at once, it might take months.

How to Succeed when Submitting Your Work for Partner Review

Finding success in submitting to a gallery that reviews work among owners and directors is achieved in a similar way one would achieve it when submitting to a formal review committee. Consistency and quality are paramount. The more established a gallery becomes, the more risk averse it tends to become. So, interestingly, a more established gallery can lend credibility to an unknown artist, and an established gallery is better suited to weather the sparse sales that often come in the early months of artist representation.

The “By the Seat of My Pants” Owner Review

By far, the review process you are most likely to encounter in the early phases of your career is far less formal than either of the previous methods. Early in your career, you are likely to submit to galleries that are not long-established institutions but, rather, are relatively new and are thus willing to take greater risks in bringing on less-established artists.

Often, newer galleries are owned and operated by a small group of individuals, led by the owner/founder. Often (this was certainly the case when I began my gallery in 2001) the owner acts not only as CEO, but also as the director, the bookkeeper, the secretary, the installer, and the janitor. The owner wields complete control over every aspect of the business, including which artists the gallery will show.

Younger galleries are riskier ventures. Many galleries can’t survive the capital-intensive first years after establishment. The successful young galleries often survive by bringing something new to the market. The newer gallery also tends to shift artwork around far more frequently than a well-established gallery, and they tend to accept a wider range of artists.

Quite often, the newer gallery’s review process is anything but structured. Artists might have their work selected by a newer gallery after a visit or email sent to the owner. Decisions are often made on the spot.

While there are obvious risks when showing with a younger gallery, there are also huge potential benefits. Often artists who are taken on during the early phases of the gallery’s operations will remain with the gallery long term.

How to Succeed when Submitting Your Work Directly to the Owner of a Gallery

In this less formal review process, the relationship between the owner and the artist becomes far more important. While the quality and originality of an artist’s work will certainly be a factor in a gallery owner’s decision, the chemistry between the artist and the owner is equally, if not more, a factor. The quality of your portfolio is important, but your enthusiasm when showing the portfolio can be just as important.

Because the chemistry is so important, an in-person visit to the gallery can often prove the most effective way to approach the gallery.

What Galleries Seek when Reviewing Artists

So what are galleries looking for when they review submissions? In brief, they are looking for artwork that will show successfully in their gallery space. Remember, success can mean different things to different galleries. An academic gallery is looking for community interest and publicity, while a commercial gallery is looking for sales. Make sure your goals align with the goals of the gallery!

We are primarily interested in commercial galleries in this discussion, so let’s think about what factors a commercial gallery would take into consideration during a review.

First and foremost, the question a commercial gallery is asking when they look at your work is “Will this artwork sell?” Speaking from personal experience, this can be very difficult to predict, and so a gallery owner is left to try and presage saleability by looking at proxy indicators.

  • Has the artist established a track record of sales? While they are no guarantee, past sales can be a good indicator of future sales.
  • Is the work striking? Do I love it? If the artist doesn’t have a sales history, an owner will often try to judge the work by her own reaction to it. “If I like it a lot, other people might too.”

Owners also take into consideration the price point of the work. A gallery is unlikely to take on an artist whose work is dramatically more or less expensive than other artists’ work in the gallery.

An owner must also weigh whether or not the work brings something new to the gallery. If your work is very similar to that of an artist the gallery already represents, the gallery will probably reject your work to avoid duplication.

Things you Should Keep in Mind When Seeking Representation

Treat Gallery Submissions like a Marketing Campaign

Let’s face it, because of the fluid nature of the review process, acceptance is, to an extent, a matter of serendipity. In order to get “lucky” and have a gallery agree to represent you, you are going to need to make a lot of submissions. This, like any marketing effort, is a numbers game. You may have to submit your portfolio to hundreds of galleries in order to find representation. Okay, many artists find success before submitting to hundreds of galleries, but you should be prepared to be persistent.

Realize that as a gallery owner, I can expect to receive dozens of submissions from artists every month. Your chances of finding success with any one gallery are small, but if you submit to many galleries you dramatically increase your odds.


Even in galleries that offer a formal submission process, there are times when a gallery will make an exception to that process if they see something spectacular in a portfolio. I know of many instances where artists found representation in galleries after having circumvented the formal review process. Some have done this by leveraging introductions to the owner by a mutual acquaintance, and others by boldly ignoring submission guidelines.

Don’t Take Rejections Personally

Knowing what you now know about the review process, I hope I can encourage you not to take rejection personally. As mentioned, galleries reject most artists who submit, so you are in good company! Think of a rejection as a favor. A gallery, by rejecting you, is saying “We don’t feel we would be able to do a good job of selling your work.” You might feel that they are wrong, but if they don’t believe they’re going to do a good job of selling your work, it’s better to keep searching until you find a gallery that is confident in their ability to sell your work.

What do You Think?

So there you have my thoughts on the review processes galleries use to select artists. Does my experience match yours? What have been your challenges in finding gallery representation? Share your thoughts and experiences in the comments below.

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About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.


  1. I deeply appreciate your blog posts and the way you’re able to shed light on the process of the art business. You do a great job of giving positive steps forward while at the same time, being realistic on how long success might take. Thank you, Jason!!!

  2. Exhibitions I have had have all come about through introductions to dealers, who have then exhibited my work several times. I have applied to one or two galleries in the past but without success, so in my experience there is no substitute for a personal recommendation.


    1. Should, would, could. Whether we “get lucky” or are continuously overlooked, we just hike up our boots and keep on keeping on. Energy, energy, positive energy!
      Greg Goyo

    2. That is the trick! They don’t tell you so you fail at it! I have never seen a submission policy in the galleries I like, that a real explanation really in detail how they want it. I have to guess half of the process and of course you can’t guess right! That is not an accident. According to Jason also many galleries do not even review it, even if they have a submission page that only says if you must, go ahead send it but we do not reply. I am thinking they erase before they even look at it. What chances an artist has without any referral or introduction? You only have chances in galleries that are small.

    1. Yes good luck with that! Trying to convince your competition to give you real advice or an introduction with their own gallery? I don’t think that will happen to me ever. You probably will have to be a really close friend. I have asked questions about the industry to artists and rarely they even answer any.

  3. Thank you again, Jason, for an educational and informational blog. As an emerging fine art artist, I intend to pursue gallery representation and these are great suggestions to consider as I decide which material to present to which gallery.

    1. Really? Hundreds of galleries? He is not serious with this article. For one the first advice you get from curators is stop approaching everyone because they know your art can’t fit in most galleries. Imagine to research a hundred galleries if you can even find that number of galleries that show your type of art! Then you can’t approache them with the same email because they are all different and they want to feel they are special to you as they should! You should only try in the galleries you respect and understand at least the work they present. This approach sounds to me like trying to get any girlfriend not the one you like!

  4. Thank you! I have been apprehensive about submitting to galleries, because most every gallery I research, I tell myself that my art doesn’t fit there. I do mostly black and white ballpoint art and it seems almost everyone is doing oil painting or sculpture. Now, I can oil paint and do sculpture… but I LOVE ballpoint.

    So, after reading this blog.. what I decided, is to let the gallery decide. I may end up mixing it up for them.

    Jason, do you think that the reason a gallery has mostly “oil paintings” is that that’s all they have to choose from is a pool of oil painters? And maybe I would give them a breath of fresh air? (New blog here?)

    Just a thought from a ballpoint artist.

    I appreciate all that you are doing for all of us artists. A huge Thank you!


  5. Very interesting and informative…your next career, educator…I’ve been a commercial photographer for over 40 years. I know what a portfolio should look like, but an artist portfolio needs to be sent to many galleries…Can you describe an artist portfolio for me…Thanks

    1. Thank you Roberto, I have the same question. In the Xanadu Business Classes, we put together a slide show and all the support docs needed, but I’m not sure what to do with them. Should they be sent as attachments? … should my first electronic contact include an embedded image so the gallery sees my work immediately? What should my Subject line say? Do galleries open attachments?

  6. Earlier in my art career, I was taken on by newer galleries that fit your description. A couple of them found me at outdoor art shows and invited me to show with them. Other than that, I got invitations through friends who already showed at a gallery. Most of those galleries stayed in business but a few didn’t make it. Once again, your assessment and advice is spot on Jason.

  7. I love reading your posts. I am an colored pencil artist that is in the beginning stage of building up my inventory of drawings. I have invested in the best archival pencils that are lightfast & papers too. So I can guarantee the longevity & quality of my work to buyers. I am still in the process of deciding on how to sell my drawings. Your articles have helped me immensely in this process. Even if my work is not a match for selling in galleries, you are an great help & education into the art world.

    Funny, earlier in my life I was a professional saleswoman. I sold medical equipment to hospitals & Imaging Centers ; later worked for a health Insurance company, selling health insurance to medium to large businesses. Both were very competitive fields & in the early to mid 80’s dominated by male managers & salesmen. It was a sink or swim situation since I was either dismissed & not taken seriously or on the opposite end perceived as a threat. Mentors were hard to find. I was determined to succeed & managed to do well for 15 yrs until I changed carriers & eventually went self employed. When I read your advice to artists, its the classic lessons I had learned through hard knocks. Its a numbers game. I used to do cold calls & had read that only 2% will show interest. So I mentally started at 100 & every rejection would count down. I would say to myself, one less rejection closer to my 2%. It worked & it helped me stay focused & not take it personally. But you are completely correct in saying that success depends just as much on personal relationships as persistence & tenacity. I always kept in touch with potential & existing clients. I used to say to my potential clients, that I was just touching base with them to see how they were doing. Always would remind them that I knew they were happy with their current service and I was glad they were, but anytime in the future if it ever changed I want my name to be the first thing that poped in their head.
    Sometimes months, even years went by but when they were ready for a change, I was the first call. I also had developed a relationship with them, for I had always kept in touch.
    I am know different in the art world but your articles give me insight to those fundamental differences and I appreciate so. I feel that when I am ready to take the plunge, I can do with better confidence. Just wanted to thank you for sharing & helping artists make more sales & better their lives. Thanks to the vaccines, hopefully 2021 will be the reopening of businesses & more freedom for us all to get out & mingle a little. My motto for this year is “stay positive & test negative”.

  8. I have been hesitant to submit my work for gallery representation for a few reasons. Knowing the gallery will exact a 50% commission, means my work has to be priced higher in order for me to earn what I feel my work is worth. Also I have a problem with granting exclusivity to a gallery, as I still enjoy exhibiting my work in local markets and shows. I admit, it would be very gratifying to be represented by a gallery and may boost sales, I have held off. Do you have any comments that would allay my fears?

    1. Personally I am more than happy to give a gallery 50% because it means I don’t have to deal directly with the customer, answer ten jillion questions, package a painting, ship it, deal with taxes and Pay Pal and potentially a return. I can paint several painting in the time it takes to deal with one time consuming customer. To me, galleries are so worth every cent I pay in commissions.

      1. I agree as well. It’s a business partnership not a club or, worse, a charity. In a professional partnership, I expect to be fully and adequately compensated for my contributions to the success of the venture. It’s no different here. The gallerist is providing expertise and service that I am, frankly, incapable of supplying. I admire people who can advocate for their own work successfully. I am not one of them.

    2. It’s a good idea to build a minimum of 50% into your prices for marketing and sales expenses — whether they are done for you by a gallery, or you do them yourself. This helps ensure that whatever path you go, you are charging enough to make some profit.

  9. Even though the lessons in the ArtBusiness Academy bring out and emphasize many points Jason made here, it is so helpful to read them again. I have to continue to remind myself that rejections are not personal, and that persistence truly pays off. If I want to find a home for the art I create, I have to pay attention to that aspect of my art business and be as positive and forward thinking as I am when i create the art. these articles are really great advice and I marvel that there is a gallery owner with so much drive and energy as to share his and his staff’s lessons on success with us. Thank you!

  10. Jason, thank you for this timely and insightful article. I submitted my work to several galleries a few years ago and got rejected by every one of them. Some were polite and some were just annoyed that I walked in off the street with portfolio in hand. No one explained why and I didn’t know it was acceptable to ask for feedback at the time. I got a little discouraged, yes, but I soon realized that both my work and my approach needed improvement. So I made it my goal to build a cohesive body of work before I approached any more galleries. I set a goal last year to seek representation, and then of course the pandemic hit. So I spent that time creating new work and joining/entering art in one national and one international artist’s guild. I actually showed in IGOR’s Fall Exhibit in Charleston. Having my work accepted for that show has given me the courage to renew my quest for representation. Thank you for sharing your insights. Wish me well? -Jan Dale

  11. I have owned two galleries as well as have been the Art Director for two major galleries in California. I would like to add another idea that I don’t think was mentioned. When choosing a gallery to submit your work take a look at the gallery website, or even better if you can, visit the gallery to see if you think your work will be a good fit for both you and the gallery. I am often surprised when an artist comes in to show his work but has no idea of the work or artists we represent and though the work is good, it is far from a good fit for the gallery or the artist.
    Also, artists should not be reluctant to show their work to galleries; galleries are dependent on artists.

  12. I have recognized a key word that you might have used but certainly modeled.
    I can see it playing out on the artist as well as gallery owner’s side.
    I believe genuine persistence can be felt and seen.
    Persistence of vision- I envision gallery representation and sold out shows.
    Persistence of protfolio- These pieces belong together …
    Persistence of Identity- I am an artist working in ___. I am a gallery owner specializing in ___.

    When that energy gets focused on whatever the vision is, the artist pr gallery owner is “mindful”. The outlook becomes one of opportunity. We go where we look and the furthest we can see is the horizon.
    As Walt Whitman penned,, Ralph Vaughn-Williams set to music, and I have sung – “Sail for the deep waters only, Sail On!
    Why should we settle for less?

  13. Thank you Jason,
    every time I listen to you or watch a video I get excited about galleries and learn so much.
    Life does coincide with my art, I’m sure most can relate to that. So getting refocused on the business aspect helps so very much.

  14. Another advantage to having gallery representation is your work should be insured by the gallery owner. I recently had a small piece stolen off the gallery wall. He “reimbursed” me my 50%. All work is also covered against damage should the gallery leak or have storm damage. Definitely has value. Think of commission as sharing in the risks.I am glad to pay commission.

  15. I don’t want to be in just any gallery I want to be in the gallery I like and respect! I couldn’t possibly apply to hundreds of galleries because there aren’t that many that can be a match, neither I can get to know that many. How can I approach the one I want to work with and nail it is more important to me than getting into a gallery.

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