What Artists Should Expect from an Art Show Director — And How Much Promotion Is Reasonable Today

What Artists Should Expect from an Art Show Director — And How Much Promotion Is Reasonable Today

Art shows have changed.
The expectations, the crowds, the economy, and even the role of the artist have shifted. Yet many artists still believe the show director is responsible for everything: the crowds, the buyers, the sales, and sometimes even the weather.

But the reality in 2025 is very different from the show environment of 15 or 20 years ago.
Directors still have responsibilities — important ones — but the relationship between artists and show organizers has become a true partnership.

After exhibiting in more than a thousand shows across the country, here is the honest breakdown of what you should expect from a show director today, and what no longer falls under their job description.

1. What Every Director Should Provide (The Non-Negotiables)

Regardless of the size or prestige of the event, every show should meet the basic standards of professionalism. These are the things artists deserve in exchange for booth fees, travel, lodging, and the time invested.

✔ A clean, organized, well-run event

This includes:

• Clear load-in/load-out instructions
• Staff available and visible during the show
• Booth numbers and layout that make sense
• Proper signage
• Overnight security
• Access to restrooms and water
• A layout that avoids “dead zones” or hidden corners

These are not privileges — they’re essentials.

✔ A fair and transparent jury process

Professional jurors, consistent scoring, clear rules, and an application system that respects the artists investing in the show.

✔ Basic marketing to make the event visible in the community

This is where many artists misunderstand the director’s role.
A show should provide:

• Event listings on their website
• Posts on Facebook and Instagram
• Email blasts to past attendees
• Press releases or community calendar listings
• Some level of paid advertising (print, digital, or social)

This is the minimum level of visibility artists should expect from any serious show.

2. What Good Directors Provide (The Shows That Get It Right)

Some shows go far beyond the basics. These are the shows that continue to thrive in a changing art market.

✔ Strong, targeted paid advertising

Many of the best shows invest in:

• Facebook/Instagram ads
• Google Ads
• Geofencing tools
• Local tourism partnerships
• Cross-promotion with small businesses

✔ Real community engagement

Great directors don’t only rely on digital campaigns. They also:

• Bring in local influencers
• Get interviews on radio or TV
• Work with restaurants and hotels
• Use volunteers and community partners to spread the word

✔ A show brand that already carries trust

Shows like Ann Arbor, Winter Park, Lakefront, and Cherry Creek draw crowds because the brand itself is strong. A respected show becomes part of the community identity — something people plan for every year.

3. What Directors Are No Longer Responsible For

This is the part that many artists, especially older generations, struggle with — not because they don’t care, but because the industry used to work differently.

✘ Directors can’t guarantee buyers for your specific medium.

They can bring people.
They cannot control who is in the market for photography, jewelry, sculpture, or painting this year.

✘ Directors are not responsible for your personal marketing.

They are not required to promote your booth, your website, your artist profile, or your individual work.

✘ Directors cannot guarantee sales or fix economic conditions.

The K-shaped economy affects everyone. Buyers in art fairs are more selective now, and that is not something a director can solve with a single ad.

✘ They do not control how the crowd behaves.

Some years, buyers walk.
Other years, they buy.
Weather, competing events, tourism cycles, and local spending habits all influence what happens on show weekend.

4. What Artists Are Expected to Do Now

The modern art fair requires the artist to take an active role in their own success.

Today, artists are expected to:

• Build a recognizable personal brand
• Promote themselves weeks before each show
• Bring business cards, QR codes, newsletters, and email signup forms
• Contact past collectors
• Run targeted ads (optional but extremely effective)
• Present a professional, cohesive booth
• Create an experience that elevates the whole show

The shift is clear:

Shows bring the crowd.
Artists bring their audience.

This mindset is becoming the standard across the country.

5. How Much Promotion Is Reasonable to Expect?

Minimum acceptable level:

• 1–2 email blasts
• A social media presence
• Event listings
• Some paid ads
• Posters or signage around town

Strong, A-level show promotion:

• Regular email marketing
• Frequent social media posts + reels
• Retargeting ads
• Artist spotlights
• Collaborations with local businesses
• Big digital ad campaigns
• Local media coverage
• Community influencers
• Tourism partnerships

If a show does all of this and attendance is still light, the issue is usually external — economy, weather, competing events — not the show director.

6. The Bottom Line: A Partnership, Not a Rescue Mission

Art show directors should absolutely promote the event. That is their responsibility.

But they are no longer responsible for promoting you individually or filling your booth with buyers who match your exact audience.

Today’s art fair world works best when:

• The show provides a well-run, visible event
• Artists bring strong branding and collector engagement

When both sides pull their weight, the experience improves for everyone — and sales follow.