For art galleries

Fill the opening. Sell the show.

In-House is your AI marketing team. It actually ships a dedicated represented-artist page for every artist in your stable with the CV, the secondary-market context and the current works at price tiers, wires the opening-night and artist-talk RSVP flow against Sydney Contemporary, Melbourne Art Fair and Spring 1883, and runs the private-client preview email that puts the new work in front of the collector before it touches Instagram.

No charge for 7 days Cancel in two taps Live in 9 minutes

Three options. Only one actually works for your business.

Agency

$2,500 to $4,000 / mo

Slow. Expensive. Removed from your business.

You get a quarterly Squarespace update, twelve generic posts about 'the joy of collecting', and a contact who has never sat with a private collector through a $40,000 acquisition. Meanwhile Sullivan+Strumpf and Roslyn Oxley9 own the corporate-acquisition phone call and Sydney Contemporary fills its preview night without your stable getting a mention.

DIY tools

$120 to $250 / mo + your evenings

Cheap, but it just hands you a dashboard.

Squarespace, Mailchimp, Later, Instagram, an Artsy listing for the bigger shows. Cheap, but you photograph the hang at 11pm the night before opening, write the room sheet on the morning, and the private-client preview email that should have placed two works pre-opening never quite gets sent.

ACTUALLY DOES IT

In-House

$299 / mo flat

Cheap, and it actually does the work.

The AI marketing team writes the captions and the room sheets, ships a represented-artist page for every name in the stable, runs the Google Ads on '[artist name] for sale' and '[city] contemporary art gallery', sends the private-client preview email forty-eight hours before opening. You hang the show, you sit with the collectors, you approve the week.

Sullivan+Strumpf gets the phone call. The room sheet never gets sent.

The reality

Commercial galleries fight on a quiet, expensive battlefield: a handful of top-tier names (Sullivan+Strumpf, Roslyn Oxley9, Tolarno, Sutton, Olsen, Anna Schwartz, Murray White Room, Niagara, Kalli Rolfe) own the private-collector phone call, the corporate-acquisition pitch and the government commission, and the art fairs (Sydney Contemporary, Melbourne Art Fair, Spring 1883, Auckland Art Fair) take the discovery moment that should have been yours. The market split is brutal: $1.5K to $5K works move on Instagram, $5K to $25K need a room visit, $25K to $80K need a private preview with a glass of red, and $80K+ blue-chip moves on the phone between people who already know each other. What the mid-tier gallery has, that the giants can't fake, is the long, careful relationship with a stable of ten to thirty represented artists, the patient mid-career trajectory, the secondary-market context, and the actual physical room. The shame is that almost none of it, the artist CVs, the secondary-market pricing context, the dinner after the opening, the visiting-artist talk, the private preview, lands on the website.

What good looks like

Good commercial gallery marketing is three things, in this order: a represented-artist page library, one per artist in the stable, with the CV, the secondary-market context, the current works at price tiers from $1.5K small works to $25K mid to $80K major, the upcoming exhibition dates and the previously-sold-into context for collectors who care; a Google Ads campaign on '[artist name] for sale [city]' and '[city] contemporary art gallery' that targets the long-tail collector search the top-tier galleries don't bid on because they don't need to; and an Instagram, ArtCollector and private-client email cadence that sends the new-work preview to the collector forty-eight hours before it touches public socials. Add a 'private viewing by appointment' booking flow and you've turned the website from a brochure into a year-round content engine that fills openings and places works pre-show.

Top-tier galleries and the fairs own discovery

Sullivan+Strumpf, Roslyn Oxley9, Tolarno and the major art fairs take the discovery moment for the private collector and the corporate buyer. You can't outspend them. You can win the patient mid-career collector with the long, considered artist relationship they don't run.

Your stable is the work

Ten to thirty represented artists across emerging, mid-career and established, each with a CV, a secondary-market history, current works at price tiers from $1.5K small works to $80K major. Each is a page that should rank for '[artist name] for sale [city]' for years. Almost none of it is on the website properly.

The private preview and the opening night are yours to fill

Opening nights, private previews 48 hours before, artist-talk Sundays, dinners with the collector after the hang. The top-tier galleries fill these rooms because they send the email. Run the email, the RSVP page and the seated dinner flow and your stable's mid-career trajectory compounds with every visit.

Real work. Not a slide deck.

In-House publishes to your real accounts and your live site. Here is what a commercial gallery sees in the first weeks, in the actual format it lands in.

Web Agent

Live · yourbusiness.com.au/artists/sarah-jones

yourbusiness.com.au/artists/sarah-jones

New represented-artist page: full CV from her 2008 graduating show through to the 2024 NGV survey, secondary-market context with three previously-sold works and prices, current available works at $4,500 / $12,000 / $28,000 with installation photos, the upcoming solo exhibition dates, the ACGA member badge, and schema marking the page as a commercial gallery representing an artist. Indexed in 48 hours, ranking page 1 for 'Sarah Jones artist for sale [city]' inside a fortnight.

One page per artist in the stable

Advertising Agent

Live · Google Ads · long-tail artist queries, no broad bids

Ad · yourbusiness.com.au

Sarah Jones · Current Works

Recently from the NGV survey. Available works at $4,500 / $12,000 / $28,000. Private viewing by appointment. Spring 1883 booth confirmed. ACGA member.

Long-tail collector search the giants don't bid on

SEO Agent

Auto-applied · approval rules

Google Business Profile expanded with represented stable

 Services list expanded from 3 → 19 (contemporary art, painting, sculpture, photography, new media, Indigenous art, emerging artists, mid-career artists, established artists, solo exhibitions, group shows, private viewings, art advisory, secondary market, art fair representation, +4 more), 'ACGA member' attribute added, primary category corrected from 'Art Gallery' → 'Contemporary Art Gallery', represented artists posted to the profile weekly. 

Live in your profile within the hour

Your direct line

Email Sam from the studio visit. The opening fills.

Sam is your AI Account Lead. Email Sam a photo from a studio visit, a new work confirmed for an upcoming show, a private collector who's asked about a particular artist, an art fair booth confirmation. Sam briefs the agents, drafts land in your inbox, two taps to approve, the team ships it.

A photo from a studio visit or new work An opening night or private preview date An art fair booth confirmation A private collector enquiry to follow up A bad review or media request to reply to

Mail

From you@yourbusiness.com.au · To sam.walker@use-ih.com

Sarah Jones solo confirmed for May, also Spring 1883 booth confirmed

Hey Sam, Sarah Jones solo locked in for May 18th, eleven new oils, the largest works she's made since the NGV. Private preview Friday 5-7pm, opening Saturday 6pm, seated dinner after for fifteen. Photos from the studio attached. Also Spring 1883 confirmed our booth for August, we'll be showing Sarah, Marcus and the new emerging artist (Lily) we just signed. Worth a hard push on all of it.

Sam Walker · Account Lead

sam.walker@use-ih.com

Replied

On it. Web Agent will ship a Sarah Jones solo show page tonight with the eleven works, the private preview Friday and opening Saturday RSVPs and the seated dinner request form. Advertising Agent will lift the 'Sarah Jones for sale' bid for the fortnight before opening and launch a Spring 1883 fair-week ad set across all three of your artists. Social Media Agent will draft a studio-visit caption for Wednesday and a private preview teaser for Thursday public socials with the private-client email going 48 hours ahead. Content Agent will draft a 'Collecting Sarah Jones: a survey of available works' essay for the artist page and the collector list. Spring 1883 gets its own booth page with Sarah, Marcus and Lily slotted in. Drafts in your inbox by 9am.

Preview the solo show and Spring 1883 pages

$299 / mo

Flat. No tiers, no markup.

9 min

From sign-up to live marketing.

60+

Pieces of content a month.

Contracts. Cancel any time.

Six agents, working in your accounts.

Account Lead, Web, SEO, Advertising, Social Media, and Content. One platform, one bill, you approve the work.

Account Lead

Builds your annual plan around the stable (the ten to thirty represented artists across emerging, mid-career and established), the exhibition calendar (six to nine shows a year) and the art fair calendar (Sydney Contemporary, Melbourne Art Fair, Spring 1883, Auckland Art Fair). Briefs the other agents so the artist pages, the long-tail Google Ads, the opening-night RSVP flow and the private-client preview email all push toward the patient collector the top-tier galleries don't court.

Answers: your stable is the work

Web Agent

Imports your existing Squarespace, WordPress or custom site so you stop paying for the hosting bill plus a CMS subscription, and makes shipping a represented-artist page or a new exhibition RSVP a five-minute job. Builds a dedicated page for every artist in the stable with CV, secondary-market context, current works at price tiers, and the upcoming exhibition dates, to your live site in two taps.

Answers: your stable is the work

SEO Agent

Goes through your live site for the things that actually move local commercial-gallery rankings: '[artist name] for sale [city]' on the artist pages, '[city] contemporary art gallery' on the home, contemporary-art-gallery schema (not generic art-gallery), ACGA member attribute, represented-stable posts on the Google Business Profile. Auto-applies the low-risk fixes; flags anything bigger.

Answers: top-tier galleries and the fairs own discovery

Advertising Agent

Launches Google Ads on the long-tail artist queries the top-tier galleries don't bid on ('[artist name] for sale [city]', '[city] contemporary art gallery', 'Indigenous art for sale [city]', '[medium] artist [city]'). Runs a Meta retargeting layer for opening-night RSVPs and the private-client preview list. Pauses spend during the summer install lull when the gallery's between shows.

Answers: top-tier galleries and the fairs own discovery

Social Media Agent

Turns the hang, the opening, the artist studio visit and the new work into a weekly stream of posts in your real accounts: studio-visit Wednesday, opening-night Friday, hang Saturday, sold-from-the-show Tuesday, secondary-market context posts on the represented stable's quarterly. Builds the patient mid-career trust signal a Sullivan+Strumpf Instagram feed never quite does. You photograph the hang, the agent drafts the caption in your voice, you approve.

Answers: the private preview and the opening night are yours to fill

Content Agent

Drafts the long-form pieces collectors and the careful buyer Google before they buy: 'collecting Sarah Jones: a survey of available works', 'a buyer's guide to contemporary Indigenous painting', 'how to price a secondary-market work: a gallery's view', 'visiting a commercial gallery: what to expect at a private preview'. Two drafts a month, in your voice, that feed the artist pages, the private-client email list and the long-tail Google Ads.

Live in your accounts, fast.

The heavy lifting comes off your plate the day you sign up. Here is what you see by the end of week one.

Represented-artist page library indexed, one page per artist in the stable, with CV, secondary-market context and current works at price tiers ($1.5K small works through to $80K major).
Opening-night and artist-talk RSVP flow live with the seated-dinner overflow option for the major exhibitions.
Private-client preview email flow live, sending the room sheet and prices to the collector list forty-eight hours before public socials.
Google Business Profile primary category corrected from 'Art Gallery' to 'Contemporary Art Gallery', services expanded from 3 to 19, ACGA member attribute added.
'[Artist name] for sale [city]' Google Ads variants live for every artist in the stable, lifted in the fortnight before each solo show.
Sydney Contemporary, Melbourne Art Fair and Spring 1883 booth pages indexed against the official fair calendar.
Secondary-market context blocks added to every artist page with previously-sold works, dates and prices for collectors who care.

See pricing No charge for 7 days Cancel in two taps Live in 9 minutes

Your first 30 days.

Existing Squarespace, WordPress or custom site imported, hosting and CMS bills torn down; represented-artist stable re-wired
Annual plan set by Sam around the stable, the six-to-nine exhibition calendar and the Sydney Contemporary, Melbourne Art Fair, Spring 1883 fair calendar
Google Business Profile primary category flipped from 'Art Gallery' to 'Contemporary Art Gallery', services expanded from 3 to 19, ACGA member badge added
Represented-artist page library indexed, one page per artist with CV, secondary-market context and current works at price tiers
Opening-night, artist-talk and private-preview RSVP flow live, surfaced as the trust offer on every artist page
Private-client preview email flow live, sending the room sheet to the collector list 48 hours before public socials
Studio-visit Wednesday, hang Saturday, opening Friday and sold-from-the-show Tuesday social cadence live in the gallery's voice
'Collecting [artist name]: a survey of available works' and 'a buyer's guide to contemporary Indigenous painting' explainers drafted for approval

The bottom line

Commercial galleries don't lose to Sullivan+Strumpf or Tolarno on the quality of the work. They lose because the private collector who'd happily place a $25,000 work defaults to whoever sends the room sheet first, and the patient mid-career artist relationship that should compound over fifteen years stays an Instagram post about the opening. The top-tier galleries fill openings because they send the email, run the RSVP, host the dinner. None of them have your stable, your room, your secondary-market context. That is your entire moat, and it needs to be the loudest thing on your website.

Agencies are too dear to actually run the artist pages, the long-tail ads and the private-client preview emails for $3.5k a month. Tools are cheap but the room sheet still goes out on the morning of and the placement that should have happened pre-opening doesn't. In-House is the third option: for $299 a month the agents ship the artist pages, launch the long-tail ads, send the private preview email, and keep your Google Business Profile beating the silent competitors. You stay in the driver's seat, two taps to approve, minutes a day. Stop letting the collector default to whoever sent the room sheet first.

See everything In-House does

No charge for 7 days Cancel in two taps Live in 9 minutes

Frequently asked.

Can a mid-tier gallery really outrank Sullivan+Strumpf or Roslyn Oxley9?

On the broad '[city] art gallery' search, not realistically, those names have decades of authority and the museum-show pipeline. On '[artist name] for sale [city]' for the artists in your stable, yes, almost always inside a few months, because the giants don't bother optimising artist-page URLs and the long tail is where the considered collector actually searches. Twenty represented-artist pages plus a complete Google Business Profile beats one generic gallery landing page on the long tail, every time.

How does the private-client preview email work without feeling intrusive?

Forty-eight hours before opening, the represented stable's collector list gets a single email: artist, title of show, the eleven works in the show with installation photos and prices, the private preview time (Friday 5-7pm), and a one-line 'reply to confirm a hold'. Collectors love it because it respects their time and they get first refusal on the work that suits their collection. The Social Media Agent then runs the public Instagram caption Thursday and the opening night fills with the people who didn't get the email. The flow is opt-in only and unsubscribe is one click.

Secondary-market context is sensitive. Do we have to publish prices?

Your call. The Web Agent template supports three modes: full transparency (previous sale dates and prices on the artist page), advisory mode (a 'secondary-market context available on request' button), or quiet (CV and current works only). Most galleries running the patient mid-career trajectory choose advisory mode because it signals depth without exposing the artist or the previous buyer. The Account Lead asks during onboarding.

Will the captions sound like the gallery's voice?

They will, because the Social Media Agent learns from your existing posts and the existing artist-page text during onboarding, and you approve every draft before it ships. You photograph the hang, the agent drafts the caption from what's in the photo (the artist, the work, the context), you approve in two taps. If a draft feels off, you correct it once and the voice updates for next time. Most galleries run a slightly more formal voice on Instagram than on the private-client email, and that's fine, both can be defined.

I'm running the gallery alone or with one staffer. How does the approve-the-week bit work?

Two taps on your phone, usually between studio visits or before opening. You see what the agents drafted (an artist page update, four social posts, two ad changes, a private-client preview email, an opening-night RSVP page), tap approve or tweak, done. The whole week's queue takes about ten minutes. Anything urgent (a price clarification, a sold-work update, a bad review needing a response) sends a notification.

Can I cancel if it isn't working?

Two taps, any time, no exit fees and no notice period. You keep your imported site, your artist pages, the Google Business Profile work, and the social grid. There is no $3.5k-a-month agency lock-in and there is no six-month minimum.