Museums play a pivotal role in shaping the narrative of art history, deciding which artists are displayed alongside legendary figures such as Michelangelo, Rembrandt, and Picasso.
Selecting artists for exhibitions involves subjective assessments of artistic value and historical significance, a responsibility traditionally entrusted to curators who maintain scholarly independence while managing the complexities of organizing shows.
Recently, however, museums have increasingly partnered with prominent commercial art galleries, which provide both logistical and, in some cases, financial backing for exhibitions.
An analysis of over 350 solo exhibitions at New York’s leading contemporary art museums over the past six years reveals that nearly 25% featured artists represented by just 11 dominant galleries—often referred to as “mega-galleries.” These influential dealers represent a significant portion of the $57.5 billion global art market.
This report explores how the growing collaboration between museums and commercial galleries is influencing the visibility and success of contemporary artists.
The Rise of Mega-Galleries
Mega-galleries became prominent in the early 2000s amid a surge in the contemporary art market, as affluent collectors shifted their focus from acquiring old masterworks to investing in living artists such as Jeff Koons and Damien Hirst. This shift enabled certain galleries to expand rapidly, with Larry Gagosian’s global gallery network—representing more than 100 artists and estates—being among the most well-known.
Traditionally, museums have downplayed their ties to mega-galleries, but with corporate sponsorship declining and visitor numbers still recovering post-pandemic, galleries have become increasingly vital partners.
While some industry experts argue that the overlap between museums and mega-galleries is natural given their shared interest in promoting leading artists, others caution that such close relationships may create conflicts of interest. Museum exhibitions often enhance artists’ reputations and the market value of their work, which can significantly benefit their representing galleries.
Dominance of a Single Gallery in New York’s Museums
This spring provides a clear example of one gallery’s influence over New York’s top art institutions.
Four of the city’s premier museums are concurrently hosting exhibitions featuring artists exclusively represented by Hauser & Wirth, a Swiss gallery powerhouse with 19 locations worldwide, including three in Manhattan.
Artists from Hauser & Wirth are featured in some of the season’s most talked-about shows.
This concentration of exhibitions has led to the nickname “Hauser spring” within New York’s art circles.
The gallery has offered logistical assistance for many of these exhibitions and financial support for some, with the exception of the Museum of Modern Art, which maintains a policy against accepting gallery funding. Representatives from Hauser & Wirth emphasize that supporting museums aligns with their long-term strategy to elevate their artists.
Their approach appears effective. The analysis positions Hauser & Wirth as the most influential gallery in New York’s museum landscape, despite its founders, Iwan and Manuela Wirth, remaining relatively unknown to the general public.
Marc Payot, the gallery’s president, attributed this success to the artists themselves rather than the gallery’s influence, highlighting the genuine relationships the artists have cultivated with museums. He acknowledged that while some may view these ties skeptically, the gallery’s intentions are sincere.
