Presentation Venues

This article is from Getting Your Sh*t Together/GYSTInk's book Getting Your Sh*t Together, the ultimate business manual for every practicing artist, available at www.gyst-ink.com/manuals/ or amazon.com.

It's important to understand why an artist would want to show her/his work in a public venue. There are a variety of presentation venues for artists available today. It's imperative to know their strengths and weaknesses and how they might or might not be good for your work. Recognize the context of how your work is presented, and how the meaning of your work may change according to its context or presentation site. Below you will find descriptions along with pros and cons for each presentation/exhibition venue. 

MUSEUMS

There are many different types of museums. Some museums are encyclopedic, meaning they strive to collect works, which represent a good cross-section of art history. Some contemporary art museums are dedicated to only exhibiting and collecting the work of living artists. Each museum has a specific mission, so it’s important to do your research to understand what each is likely to showcase. Depending on the institution, museums offer one-person, group, thematic, invitational, and juried exhibitions. Most do not accept proposals for review, but some do. Most have their own curatorial staff that invites artists to exhibit work. Most museums do not accept unsolicited donations of artwork.

EXPECTATIONS: Most museums have websites, which will usually let you know their policies for submissions or studio visits. If not, be sure to call the staff before sending information. Many museums schedule their exhibitions 2 – 4 years in advance.

PROS: Museums are prestigious venues. The level of professionalism and assistance to the artist is generally high. Additionally, if the museum buys your work it is likely that the prices and demand for the rest of your work will increase.

CONS: Most museums will not consider unsolicited proposals. Many museums still do not provide an artist fee.

RESEARCH: Research online or call museums to find out their selection process, or if they have open call exhibitions. Most will publicize applications and information. Be sure to find out their policies for requesting a studio visit. Be sure to read the mission statement of any museum you are interested in presenting your work. This exercise will provide you with an insight into how your work fits within the museum’s overall vision.

RESOURCES: AAM is the Association of American Museums. Also, the summer issue of Art in America lists most all museums in the U.S.

COMMERCIAL GALLERIES

Galleries are for-profit businesses that select artists either by open call or private selection. Gallery dealers make their living from sales of the artwork. The commission the dealer takes from the sale of this work can range from 40 – 90%. Most sales should be about 50% to the dealer and 50% to the artist. No two galleries are alike, so research is a must! Artists are treated very differently from gallery to gallery. For more information, see the Galleries section in this manual.

EXPECTATIONS: A working relationship between the artist and the dealer should result in the promotion of the artist’s work. A good gallery will cover the costs of exhibitions and shipping. This requires trust, good communication, and up-to-date consignment agreements. Artists represented exclusively by a gallery usually have at least one solo exhibition at that gallery every three years. Most galleries deal with a small number of artists on a regular basis.

PROS: Good galleries are active in the promotion and marketing of their artists. An artist can build a long-term relationship with a good gallery. Regular sales through a gallery can provide a steady income to an artist. Having a good gallery on your side can lead to more visible shows in museums and galleries in other cities.

CONS: Galleries that are run poorly do not actively sell work, can renege on contracts, and be slow to pay artists. Some galleries do not sign contracts. This should make you suspicious. Some galleries expect the artist to cover gallery costs (“pay-to-play”). Some take a large commission, using excuses such as the high costs of promoting emerging artists, which require more work. Never accept less than a 50-50% split. Always have good contracts and never pay to show your work. Remember, just because they call themselves a “gallery” doesn’t mean these art dealers are performing professional tactics of a responsible commercial gallery.

RESEARCH: Make sure you find out which galleries exhibit the kind of work you make. Galleries typically do not review unsolicited work, so make sure you call first, or better yet, check their website. Many galleries will post next to their contact information: “We do not accept unsolicited submissions.” Be sure to find out how they operate, and do not make assumptions about their policies. Thoroughly investigate their business practices and their relationship with their current and past artists. A failure to do so may ruin any potential relationship with a prestigious gallery or worse, get you involved with an irresponsible gallery.

RESOURCES: Most large cities have gallery guides that list galleries and who they represent. Art in America has an annual issue that lists most galleries in the U.S. The Gallery Guide National and Regional Editions is a good place to look, as well as calendar listings in your local newspaper or weeklies. See the Galleries Chapter for more information.

NONPROFIT AND ARTIST-RUN SPACES

Traditionally called alternative spaces, these organizations began in the 1970s with artists seeking to expand exhibition opportunities. These exhibition spaces are supported through public and private funding. They often have many opportunities for artists and do educational programming as well. These spaces are now usually referred to as artist-run spaces. They can be either nonprofit or for-profit entities.

EXPECTATIONS: These spaces generally work with a range of artists from emerging to established. They often will exhibit work that is risky or experimental. Many support local and regional artists and most pay an artist fee for showing w s the staff is often supportive of artists.

PROS: Non profits are usually accessible to emerging artists, often pay an artist fee, and often present programming that reflects community concerns. Many do group exhibitions that allow an artist to get started showing work. Most of these spaces encourage the submission of proposals from artists and curators. They often have an exhibition committee of artist peers who make decisions for their programming. As always, it is recommended to search the venue’s website or call a staff member before sending any submission materials.

CONS: Often these spaces are financially challenged, and will sometimes request that the artist help fund the exhibition. Although this can be considered a grey area, these spaces are different from “pay-to-play” establishments because their endgame is not to make a living off of your financial contributions. Artist-run and nonprofit venues typically have the goal to advance their mission statement and promote artists in the process.

RESEARCH: Be sure to understand the mission of the organization and see if your work fits their mandate. Contact the organization or visit the website to find out about specific submission guidelines.

RESOURCES: Art in America’s Annual Guide lists many non profits. National and regional gallery guides, and websites are good places to find out about these spaces. Also, you may contact your state’s arts council or commission. Check out your city’s Cultural Affairs Department for information.

ALTERNATIVE VENUES

These are exhibition sites that don’t fit into any of the rest of the categories listed here. They include banks, bookstores and other commercial venues, corporate and city government lobbies, restaurants, schools, etc.

EXPECTATIONS: Work is displayed in a public space (sometimes private if the work calls for such a location). Often the responsibilities for labor and expenses fall onto the artist.

PROS: A good way to introduce your work to new audiences, and/or create an important context for the work. If you are working with a business or corporate setting, sometimes they don’t schedule work far in advance, so you can get a show within a year. This is good for calendar- specific subject matter. Also some critics and curators are very interested in seeing work in unconventional settings.

CONS: The artist may have to work out their own insurance, the exhibition space might be less than ideal, and the majority of the work/expenses falls onto the artist. It can also be difficult to get people to visit out-of-the-way venues or venues where they are expected to pay money to see the work.

RESEARCH: Make contacts by visiting local venues and talking with the manager or owner. Search out venues where artists have already shown their work. Be sure the venue you choose makes sense for your work. Do not show your work in an environment that will harm your intentions just for the opportunity to exhibit a project.

RESOURCES: See our listing of possible sites at the end of this chapter. Conduct an online search for context-specific sites. Talking to your peers for ideas and information about their experience is helpful. Also, ask yourself where would be the ideal place for your work to be shown.

COLLEGE AND UNIVERSITY GALLERIES

Many colleges and universities have galleries (or sometimes on-campus museums) supported by the institution. Many are open to proposals from the field. Some have a dedicated curator on staff, others are student-run or managed by faculty. Some college galleries often have a built-in audience of students and faculty. 

EXPECTATIONS: Many of these spaces function like museums or nonprofit spaces. Contact them to find out submission guidelines. Although potentially confusing, many of these institutions have galleries dedicated to students’ work while also having galleries devoted to exhibiting professional artists from outside of the institution.

PROS: Colleges and universities provide good opportunities to exhibit work. Many have substantial staff, and most will support financial aspects of the exhibition or project. Many fund a brochure or a catalog and some pay artist fees.

CONS: Some exhibition spaces are less than desirable or difficult for the general public to locate or access. Some have parking issues. Security and artist reception restrictions can also be an issue at some venues.

RESEARCH: Visit the institution’s website or call to find out if they accept proposals. Many of these galleries are scheduled 2 – 3 years in advance.

RESOURCES: Art in America’s Annual Guide, local listings in publications, and websites.

PRIVATE ART DEALERS & ART CONSULTANTS

Many private dealers and consultants work from their home or a small office. Most do not organize public exhibitions. Some work with a specific genre or media, others choose artists on a project-to-project basis. Some make their living from the sale of an artist’s work, and others don’t.

EXPECTATIONS: Private art dealers and consultants generally work with a wide range of artists. A corporate art consultant works on a project basis with a client to build a collection. Most consultants take a commission from sales.

PROS: Working with private art dealers and consultants can be a good source of income. An artist may work with several consultants at one time. Responsible dealers or consultants can provide you access to areas of the art world you normally would have difficulty navigating.

CONS: Work is sold without being publicly exhibited. Some irresponsible consultants or dealers may not have the best interests of artists in mind and may take advantage of artists they work with.

RESEARCH: Contact individual consultants to find out how to submit work samples. Many consultants hold on to images of an artist’s work in order to make presentations. Some consultants will consign work.

RESOURCES: Art in America’s Annual Guide and local online listings. Other artists are a good resource.

RENTAL GALLERIES

Rental Galleries are often associated with museums or decorating services. They show the work of artists and rent the work by the month or year. Occasionally the gallery will provide a “rent-to- own” policy to clients or “test-drive” options for new collectors learning how to build a private collection. These policies give collectors the opportunity to rent a work of art before making the final decision to buy it. Many companies in the TV and movie industry use these galleries/services to rent artwork for production sets.

EXPECTATIONS: Rental galleries generally work with a wide range of artists. They expect artists to consign work to them for varying periods of time.

PROS: Rental galleries can be a good way to generate income from your work. Also some curators and collectors periodically visit rental galleries to find new artists’ work.

CONS: Many of these works are displayed in private places, so are not open to viewing by the public. Also some rental galleries rent work to decorators and designers who can damage work. In the event of an accident, make sure your work is insured and the consignment agreement is clearly articulated.

RESEARCH: Conduct an online search, or consult other artists.

RESOURCES: Online listings are probably the best place to start. You might also want to contact your local arts organizations. These programs are offered in the states of California, Delaware, Iowa, Michigan, New York, Oregon, Pennsylvania, and Washington State.

CORPORATE ART COLLECTIONS

Corporate art collections range from Fortune 500 corporations, to hospitals and local restaurants. Art is purchased for investment, office furnishing, prestige, and employee morale. Some corporations have in-house curators on staff.

EXPECTATIONS: Corporations generally purchase non-controversial work, usually through independent arts consultants or in-house staff. They seldom purchase directly from artists. Some collections specialize in a particular media, region, or theme.

PROS: Corporate art collections can be a good resume booster, and a good source of income. Often they commission work for particular spaces with an adequate or healthy budget. If an employee admires an artist’s work in the collection, she/he may purchase some for her/his home. Also people on corporate boards of directors who collect work sometimes donate work to museums, so your work may be more appealing to them if your work is in their company’s corporate collection.

CONS: Often the work in a corporate collection won’t be seen by the general public. If the corporation goes bankrupt, your work may not be protected. Sometimes it is hard for the artist to borrow the work back from a corporate collection for an exhibition or retrospective.

RESEARCH: Contact the curator of the corporate collection to get protocols for submission, or work with an art advisor.

RESOURCES: Corporate websites and philanthropy publications.

IMAGE REGISTRIES (FORMERLY KNOWN AS SLIDE REGISTRIES)

Slide registries have pretty much disappeared and been replaced by digital image archives or virtual databases for digital images. Many image registries are sponsored by local arts organizations, museums, libraries, and public art agencies. Many are curated and made available to the public, curators, collectors, critics, and historians for exhibition opportunities, articles, and research.

EXPECTATIONS: Some image libraries are open to the public, some are curated, or open only to invited members. A few registries will also collect other information such as résumés or CVs, catalogs, exhibition announcements, prints, etc. in a file folder to be viewed upon request. Each image library has its own requirements and policies.

PROS: Image registries and libraries are a great opportunity to get your work seen by curators and collectors. Some registries have an online database that can be accessed worldwide. A good registry will ask for periodic updates.

CONS: Poorly maintained registries can get little traffic and often contain mainly out-of-date materials. Remember to update any image registry that you are in, even if not requested, at least once a year, especially if contact information changes.

RESEARCH: Research online or call to find out if the organization has an image registry. An application form with necessary materials is usually available.

RESOURCES: Websites with registry listings. See the Image Registries listed at the end of this book in the Resources & Further Reading section. 

OPEN STUDIOS

An open studio consists of an artist or group of artists hosting an event for viewing and selling their artwork in a social or celebratory setting. This can be at their actual studio spaces, or artists can come together to show work in one studio space. If possible, artists should have open studios for two consecutive days so that word can spread and more people can show up the next day, as well as offer hours by appointment.

EXPECTATIONS: Open studios can happen in many ways. Expectations are based on the organizer of the event. If the open studio takes place at an individual artist’s studio, the artist does all the work.

PROS: Open studios are a great way to introduce new work to the curious public. Sales and contracts can result from open studios. Connections with other artists can be made, as well as with curators and galleries.

CONS: Usually all expenses for an open studio event are paid by the artist. The artist has to be available for all hours of the event, which can be exhausting.

RESEARCH: Develop and share good mailing lists with other artists. A great idea is to team up with other artists for group open studios. However, remember to never send artist materials/ announcements to anyone who did not give you permission to do so.

RESOURCES: Talk to other artists and organizations that have put on open studio events. Many colleges and universities host open studio events for their students. This is a great way to see how the work is presented and the reception executed.

ONLINE GALLERIES AND SALES SITES

There are both for-profit and nonprofit online galleries. The best ones are curated and put up a selection of artists’ works for sale or visibility. They can be small online databases or massive digital warehouses of work.

EXPECTATIONS: Some online galleries require members to pay monthly or yearly fees. Some membership organizations allow members to post work on their website. Other websites are exclusively for showing or sales, and artists are curated into the online collection. Commercial online galleries take a commission on sales.

PROS: Online galleries are a good way to direct people to your work, plus they provide visibility to an expanded worldwide audience.

CONS: Your work will be seen in the context of other artists’ work, which you may not like. If you are concerned, make sure you check out the submission policies and the artists currently on the site. Not all sites have good sales records. Many charge a fee for each work displayed. Not all work looks good online. If someone buys your work online, has it shipped, and she/he doesn’t like it or it doesn’t correspond to the image online, she/he has the right to return it, which can be a financial and mental battle. Another major concern for an artist exhibiting with an online gallery is context. Can your work be represented online? Does this hinder the intention of the work? Just because online galleries exist as an option doesn’t make it an automatic opportunity.

RESEARCH: Conduct online searches for information. Talk to other artists who use these services. Read reviews from critics, clients, and artists.

RESOURCES: Some websites have listings of online galleries.

VANITY GALLERIES

Vanity galleries are for-profit galleries that require artists to pay for exhibition of their work as well as many other related expenses. They may also require an additional commission on work sold. These spaces fall into the ”pay-to-play” category, which does not look good on your résumé or CV. Artists often receive unsolicited emails offering spectacular results in exchange for “promotion fees” or “membership fees.” The galleries will promise you fame and fortune but that comes at a huge price.

EXPECTATIONS: Vanity galleries generally charge for all associated expenses of the exhibition, including publicity, rental of the space, shipping, etc.

PROS: A chance to show your work, but the consequences of doing so will be high.

CONS: A vanity gallery has little incentive to sell or promote your work because they are getting money from you up front anyway. Vanity galleries typically represent poor quality artists. They usually give the artist a bad name because the artist had to buy a place to exhibit work. Artists frequently get scammed by vanity galleries with initial praise and sweet-talk before laying down the bill for everything.

RESEARCH: A simple search online (or not). We highly recommend you stay away from these predatory establishments. They will not advance your career, foster your art practice, or make you money. In fact, they will ultimately cost you money!

JURIED EXHIBITIONS

Juried exhibitions are offered worldwide through galleries, museums, organizations and arts councils. They usually consist of a call for entries, where artists are asked to submit their works for review by a guest curator or jury panel. Many of these exhibitions are often organized around a central theme. Beware of these calls for entry, as many of them have become “pay-to-play” schemes.

EXPECTATIONS: Often artists are required to pay to submit their work for review, although sometimes they are not. Often juried exhibitions are fundraising campaigns for non profits or commercial spaces, where they make money off of artists paying to submit work. Usually artists pay to ship their work to and from the venue. Some juried exhibitions offer prizes to select artists and sometimes publish a catalog to accompany the show.

PROS: Juried exhibitions are one way to get visibility for your work, and not all of them require an entry fee. This can be good for emerging artists because their work can get in front of important jurors, curators, or panels. However, research is vital to avoid any money-making schemes. Non-entry fee juried exhibitions are not considered “pay-to-play.”

CONS: Applying to multiple juried shows can be expensive. A good juror does not ensure high quality of work chosen or visibility for the artist. You may not like the context your work is placed in, or the other artists chosen alongside you. The artist is most often responsible for shipping, framing, and packing of work. Fees charged by these shows often pay the rent, with little consideration of those applying. Judging for these shows is often lame at best. Do your research. If you have juried exhibitions on your résumé, gallery dealers and curators are often turned off by these listings. You can keep those shows on your résumé, but you might want to take “juried” out of the title.

RESEARCH: Art classifieds, websites, and local listings. It is good practice to understand why a juried exhibition has a fee. Why are they charging so much? Sometimes the organization will justify the fee, while others will not. What are their reasons for charging to submit extra images? These questions along with many more should raise a red flag when forking over your money with your application. It is important to remember that you want to apply to opportunities that truly desire to exhibit your work. Finally, as for the promise of cash prizes, stick with the lotto to try to win easy money.

RESOURCES: Art Calendar’s website, nyfa.org, art calendars, Artweek, Afterimage, and other sites.

CO-OP GALLERIES

Co-op galleries are based on artist participation and membership, in which the artists share the expenses and business responsibilities of the gallery.

EXPECTATIONS: Usually artists who participate in co-op galleries have to pay a monthly or yearly fee in return for a guaranteed show of their work. Artists must apply for membership, and sometimes have to put in time or labor, like sitting in the gallery or managing accounts, etc.

PROS: A co-op gallery is a guaranteed venue. Some of the older ones are well respected and reviewed regularly. Sometimes a co-op gallery is the only local exhibition opportunity available to artists in rural or overlooked locations.

CONS: Participating in a co-op means dealing with group dynamics, which can get political and lead to in-fighting. Some co-ops have a bad reputation as nothing more than a venue where an artist pays to exhibit their work.

RESEARCH: Follow the same procedures for researching commercial galleries. Inquire about a co-op’s financial standing. Do your homework.

RESOURCES: Online research and Art in America Annual Guide.

PUBLIC ART PROGRAMS

Public art programs consist of commission and sale opportunities to artists sponsored by federal, state and municipal agencies, and independent organizations for work in a public context. They can entail both large and small-scale projects.

EXPECTATIONS: Art councils often administer these programs. Artists are selected by panel process and are then asked to submit a proposal. They are often curated from image registries or open calls.

PROS: Public art programs provide a good opportunity to have your work seen by many, which can lead to other opportunities. They also provide a chance to execute projects on a scale that you can’t otherwise afford. These opportunities are also great for social practice artists who desire to work directly with the public.

CONS: Working with public programs can require the artist to adapt her/his intent, and work within strict budgets and guidelines. Many programs want artists with previous public art experience. Work can be vandalized.

RESEARCH: Contact your local arts council and consult with public art program directories. Conduct online searches. Working with various public arts programs will raise further context questions for your work. Be sure to do your homework.

RESOURCES: Americans for the Arts, Public Art Directories. See our chapter of Public Art.

ART FAIRS AND FESTIVALS

Art festivals can come in many forms. Mostly, festivals consist of environments where artists sell their work directly to buyers in rented space or at rented tables. Generally art festivals take place yearly and on a state or regional level. On the other hand, art fairs are held for galleries to sell their inventory to dealers and collectors, often on an international scale.

EXPECTATIONS: For festivals, artists and/or dealers are expected to pay for the space. At an art fair, usually the gallery owner or dealer pays for the space rental. In both situations, the gallery, artist or one of the gallery’s representatives must be on hand to sell work to the public.

PROS: Sales are directly to the public, and these exhibition opportunities usually come with high foot traffic. This can be a good way to make money in a small amount of time. Also festivals and fairs can be an excellent way to network with other artists, galleries, curators, and collectors and can be a good way to introduce the work of an artist outside of the context of a gallery show.

CONS: Fairs and festivals can be expensive to enter. The artist or dealer must be on-site at all times. Also, these exhibition opportunities can be inadequate and offer limited spaces to view work.

RESEARCH: Before you commit, carefully research the venue and the quality of work displayed in the past.

RESOURCES: Art in America Annual Guide, local guides, and online listings.

AUCTIONS AND BENEFITS

Donating work to an auction is a great way to help out a nonprofit organization or a good cause, and gain exposure for your artwork. Auctions come in many different forms. Some auctions are silent, where the host institution has a party and invites guests to silently outbid on bid sheets. Some auctions are open forums where people bid for work out loud. Some auctions are curated by the host institution, others involve more submissions or work from a larger, more nebulous pool of artists. Online auctions are now popular as well.

EXPECTATIONS: Artists donate their work, and the organization takes care of the sales. Artists usually pay for framing costs and sometimes shipping. Sometimes an artist needs to establish the retail price and set the minimum bid for their work.

PROS: Sales are directly to the public, and there can be high foot traffic. The artist sometimes receives a percentage of the sale. Auctions can provide great exposure for emerging artists because collectors, curators, and other artists often attend these auctions. This exposure can lead to future opportunities.

CONS: It costs money to create the artwork and usually, the artist does not recoup this money when the work sells.

RESEARCH: Carefully research the venue and the quality of work displayed in the past before you commit. Sometimes artists are given the choice to donate 100% of the sales to the auction cause or receive a percentage (usually 20% to cover material costs, framing, shipping, etc). Ask yourself if this auction/benefit is suitable for your work and career. It’s acceptable to be selective with your decision to donate a work of art. Many established artists are constantly requested to submit artworks for donation and they must be particular with their decisions. Although these auctions are for a good cause, they should not put you out of business.

RESOURCES: Many museums, artist-run spaces, and non profits hold auctions of artists’ work.

ART IN EMBASSIES

The American Artists Abroad Program is part of a larger project called Art in Embassies Initiative by the State Department in the United States. Other countries have similar programs. Artists can lend their work for up to three years to be exhibited in embassies around the world. They work with well-known as well as lesser-known artists, and sometimes purchase work for their own collection. The goal is to share the best of what the U.S. has to offer with a better understanding of the country.

EXPECTATIONS: The State Department has a small budget to pay for shipping and crating, and often will have the artist stay at the ambassador’s own residence. A wide range of artists and work is sought for embassies all over the world.

PROS: Your work is seen by a whole new audience, and it can be a good addition to your résumé or CV. You may also get to travel to the county in which your work is shown.

CONS: It costs money for the artist to travel as well as the cost of making the work in the first place.

RESEARCH: Carefully research the venue and the quality of work displayed in the past before you commit. You will need to apply for the artist registry associated with the Art in Embassies program.

RESOURCES: Check out the Art in Embassies program for details. They usually have a booth at the College Art Association Book Fair. https://art.state.gov/

ALTERNATE PRESENTATION SITES

If you are going to engage in exhibiting your work in these alternative venues, be sure to get the required permits or permission if needed. If you have more suggestions to add to this list, please email them to [email protected].

City Hall or government buildings

Houses, apartments, garages, living rooms (both commercial and alternative spaces) 

Empty stores in malls (e.g. Beverly Naidus’ installation project)

Restaurants

Storefronts of existing businesses (e.g. flower market, architect’s office, etc.) 

Public schools, especially their theater spaces

Abandoned buildings (e.g. Phantom Galleries)

Theaters on their “dark” days

Fences and sidewalks

Walls of concert halls, theaters, or other performance venues

Movie theaters (e.g. “Projections”, Karen Atkinson, and Sylvia Bowyer)

Buses (they sell advertising space)

Subway or metro

Billboards (some companies give discounts to artists) or alter an existing one

Signage (can go anywhere)

Front lawns of business or suburban neighborhoods

Parks

Public spaces in front of a business

Parking lots (project a movie, install site-specific artwork, do a performance)

Loft spaces

Rent a space at the swap meet for exhibition or performance

Newspaper space (ads, classifieds, personals; e.g. Group Material)

Check out a local magazine, especially if they are just getting started

Storage space in a storage building

Posters

Mail art

Postcards

Park your car (installation or sculpture) on the side of the road, and feed the meter (e.g. Foundation for Art   Resources )

Paint the side of a truck or semi

Install a show in a truck and park in a high-traffic or art-viewing location

Performance in a truck

Banners

Flags

Public libraries (e.g.,”6 Degrees” exhibition by Side Street Projects)

Coffeehouses

Host audio art with a dedicated telephone number (e.g.. Tucker Neel’s 323 Projects) 

Use a taxi, drive a taxi

Slip posters or printouts inside newspapers (buy a paper and insert your work into the rest of the papers)

Calendars

Birthday cards

Hair salons

Furniture store

Laundromat

Rooftops of buildings

Beach

Local celebrations and festivals

Enter a parade (e.g. the Doo-Dah Parade in Pasadena, California)

Dentist or doctor’s office

Model homes

The front door of your house or apartment

Bookstores

Block parties

Empty fields

Parking structures

Infiltrate parties as caterer/server

Student Unions at universities

Churches, especially progressive ones (e.g., Tim Miller’s performance with a minister)

Gridlock Shows, when traffic is stopped, hand out your artwork

Sandwich billboards (walking art performance)

Slip art into books in the public library or magazine rack

Skywriting

The Internet

Alter store-bought goods and return to shelves (a.k.a. “shop dropping”) (e.g. Barbie Liberation Movement)

Digital projections can be projected almost anywhere from inside your car (statues, monuments,      buildings)

For a public art reception, put reception goods in trunk of car and serve from there

Riverbeds

Hiking trails (e.g. New Town’s events)

Overpasses

View-master (e.g. Karen Atkinson and Sylvia Bowyer for “Projections” catalog) 

Parking meters (e.g. Karen Atkinson)

Audio can be broadcast almost anywhere (e.g. Terry Allen’s trees at UCSD) 

Stages built in public sites

Used or new car lot

Republican or Democratic Convention’s alternative stage area (e.g. Side Street Projects) 

Exhibitions and installations in motel and hotels

Short weekend shows in all sorts of places (e.g. Dave Muller’s Three Day Weekends)