An art fair does not initially sell galleries revenue, but the opportunity to generate it. Artissima illustrates how costly that opportunity can be and who has to fund it upfront: the Turin fair opens at the Oval from 30 October to 1 November 2026, with a preview on 29 October.
Even applying costs money
The “New Entries” section is aimed at galleries that have been operating for less than five years and are taking part for the first time. According to the participation guidelines, stands range from 20 to 30 square metres, with the size allocated by the organiser. For the four main sections, the fair quotes 200 to 280 euros per square metre, without specifying a separate New Entries rate. These figures do not provide a complete final price including taxes and additional services.
A deposit of 1,000 euros for New Entries applications was due as early as 5 May. Even rejection comes at a cost: according to the guidelines, 450 euros is then retained, plus VAT where applicable. Access is therefore not just a curatorial decision: the application process itself presents a financial barrier.
The invisible half of the bill
The budget does not end with the stand: packing, outward and return transport, insurance cover, travel and hotels all have to be taken into account. Then there is installation and dismantling, staffing the stand and looking after the gallery back home. Those who install and sell the work themselves may save on external fees, but not on their own time.
A sale does not automatically cover these costs. For works on consignment — works entrusted to a gallery for sale — the proceeds are split between the gallery and the artists. Who bears which expenses depends on the agreements in place. The financial risk can thus extend all the way back to the studio.
Why take part nevertheless? According to the market report produced by Arts Economics for Art Basel and UBS, fairs accounted for 35 per cent of turnover in the dealer sector in 2025. That explains their importance, but not the profitability of any individual stand. Contacts may lead to sales or exhibitions later on; they do not yet pay today’s bills.
Funding is not the same as upfront financing
The “Artissima New Entries Fund”, financed by the fair, provides for grants of 3,000 euros each to three galleries. A jury decides on the basis of the artistic quality of the proposals; the support is awarded during the fair. This eases the burden for those selected, but is neither a commitment to everyone nor financing secured in advance.
Austria offers a different model: its 2026 support scheme for participation in fairs abroad can cover stand rental alone at Artissima, up to a maximum of 7,000 euros; if the rent is lower, only the actual rental costs are taken into account. Requirements include a gallery location in Austria and a connection to Austria for at least half of the exhibiting artists — through citizenship or permanent residence. Transport and staffing are not covered. Payment is made only once the full accounts have been submitted, including proof of payment and a report. The gallery therefore has to pay out of its own funds first.
Here lies a crucial distinction: a grant can reduce the eventual burden without eliminating the temporary need for cash. Access to the market therefore depends not only on the amount of support, but also on when that help is reliably available and which costs it covers. The fair contributes through its fund; public funding can shoulder further costs. The risk of returning without sufficient sales revenue, however, remains with the galleries and — depending on the agreement — the artists.
Original reviewed by the editors · 25 October 2026
