“The Influence of Galleries on Museum Exhibitions in New York”

The Influence of Mega-Galleries on Museum Exhibitions: A Concerning Trend

Museums have often proclaimed themselves as independent from the art market, but recent trends suggest otherwise. In today’s art world, sales often lead to fame, which in turn leads to retrospectives and more sales. The current spring season in New York is a prime example of this phenomenon, with high-profile exhibitions at top Manhattan museums featuring artists represented by a single gallery: Hauser & Wirth. This has raised concerns about the growing influence of mega-galleries in shaping museum exhibitions.

Hauser & Wirth, with its vast resources and global reach, has become a major player in the art world, representing over 100 artists and estates. Its artists, such as Jack Whitten, Amy Sherald, Rashid Johnson, and Lorna Simpson, have been the focus of recent museum shows in New York, including the Museum of Modern Art, the Whitney Museum, the Guggenheim Museum, and the upcoming Metropolitan Museum of Art exhibition. This concentration of Hauser & Wirth artists in New York shows suggests that a single gallery’s program can determine a significant portion of museum exhibitions.

While it is not new for galleries to fund institutional shows, the extent of Hauser & Wirth’s involvement in these exhibitions remains unknown. Galleries often provide funding for printing catalogs, licensing images, and financing receptions. However, the dominance of mega-galleries in museum programming raises concerns about the “growing influence of a small number of galleries in a rapidly consolidating art market,” as noted by Julia Halperin in her 2015 report for the Art Newspaper.

The consequences of this trend are particularly significant given the demand for greater diversity in the art world. The current emphasis on artists of color, queer artists, and women artists should be reflected in museum exhibitions. However, the reliance on blue-chip dealers for eligibility raises questions about who gets to be recognized by museums. The current situation feels like an apex of a mega-gallery monoculture, where a small set of dealers determine which artists’ works are showcased extensively.

This situation appears to be unique to the US, and specifically to New York. If we look abroad, we see a different museum landscape with institutions organizing shows for artists without major gallery representation. For example, the Sharjah Art Foundation in the United Arab Emirates held a retrospective for Māori painter Emily Karaka, and Tate Modern in London organized a widely praised retrospective for the late artist Leigh Bowery. These examples demonstrate that major galleries are not a prerequisite for international institutions to curate significant exhibitions.

The discrepancy between international art festivals, which often showcase untested talents, and the exhibition programs of New York museums further highlights the issue. New York museums tend to rely heavily on established talents represented by mega-galleries for their retrospective shows. This suggests a mismatch between the demands for diversity and experimentation, and the institutions’ choices in recognizing and supporting underrepresented artists.

Recommendations for the Industry

In light of these concerns, it is crucial for museums to take a critical look at their exhibition programs and consider a more inclusive approach. Here are a few recommendations:

1. Expand Representation: Museums should actively seek out artists who may not have major gallery representation but whose work is significant and deserving of recognition. By diversifying their roster of artists, museums can help counterbalance the influence of mega-galleries.
2. Collaborate with International Institutions: Engaging with international institutions that have successfully organized exhibitions for artists without major gallery representation can provide valuable insights and alternative approaches.
3. Support Emerging and Marginalized Artists: Allocate resources and exhibition space to support emerging artists, artists of color, queer artists, and women artists. This can be achieved through dedicated programs, open calls, and collaborations with community organizations.
4. Engage in Curatorial Experimentation: Museums should embrace their role as platforms for curatorial experimentation and take risks by showcasing works by untested talents. This can foster innovation and contribute to a more diverse and dynamic art scene.
5. Educate the Public: Provide accessible and comprehensive educational programs that help audiences appreciate and understand a wider range of artistic practices. This can help break the influence of mega-galleries by creating a more informed and discerning public.

By implementing these recommendations, museums can maintain their relevance as institutions dedicated to promoting diverse and meaningful artistic experiences. It is crucial to resist the concentration of power and influence in the hands of a few galleries, and instead prioritize the recognition and support of a diverse range of artists.

Artists like Santiago Yahuarcani, who may not have mega-gallery representation but possess immense talent and contribute unique perspectives, deserve the opportunity to have retrospectives in prestigious museums. Museums need to take risks, challenge the status quo, and ensure their exhibition programs truly reflect the variety and depth of contemporary art.

References:

1. Zachary Small and Julia Halperin, “Museum Shows by Big Galleries Are Good for Artists. But Are They Good for Museums?” Artnet News, May 4, 2022.

2. Zachary Small and Julia Halperin, “Amy Sherald’s Whitney Museum Survey Part of a Rammed NY Exhibition Schedule for Hauser & Wirth Artists,” New York Times, May 3, 2022.

3. Julia Halperin, “Are Mega-Galleries Bad for Art?” The Art Newspaper, August 20, 2015.