Exhibitions are not storage with spotlights. A show is a choreography of attention—a sequence of moments where the work meets bodies in space. The Artist who understands exhibition craft gains leverage: you can guide interpretation, anticipate behavior, and make the work stronger than it is in isolation. This is a field guide to the core moves: sequencing, spacing, text, and light.
Begin with the arc
Before tape touches walls, write an arc: how do you want visitors to feel in the first minute, the mid-room, and the last minute? Identify three beats and a coda. For example: “Entry—quiet calibration. Middle—densest conversation. Exit—open air.” This arc informs what hangs where and how you pace intensity. The Artist’s job is not to overwhelm every wall; it’s to modulate.
Sequence like a sentence
Sequence pieces so they talk to each other. Pair contrasts (a dense panel next to a sparse one) to create breath. Group works that share a formal problem to let patterns emerge. Avoid arranging purely by size; size is only one grammar rule. Lay everything on the floor and audition lineups. Photograph options; your eye notices different relationships when you step away.
Spacing is editing
Whitespace is not waste. Crowding dilutes. A strong piece can anchor a wall alone. Use clusters for rhythm—a triplet can read like a chord. Respect sightlines from entries and corners; what’s visible at a glance will frame the show. A simple rule for the Artist: if two works improve each other’s reading when apart, keep the gap. If they need distance to stop fighting, give them a wall.
Heights and bodies
The old “center at 57 inches” is a guide, not a law. Consider the dominant audience height and the nature of the work. For small, detailed pieces, lower can invite intimacy. For large works, slightly higher centers maintain horizon lines. Test with a human—no substitute exists. In mixed-height shows, adjust in zones rather than rigid uniformity; let the body lead.
Text as a door, not a fence
Wall text should open the show, not defend it. Keep the intro under 120 words. Offer a handle—a why and a how—without telling people what to feel. Labels can carry materials, year, and a crisp sentence when relevant. QR codes can host deeper dives for the curious without cluttering walls. The Artist who writes to invite rather than impress sees visitors linger longer.
Lighting: sculpt with shadows
Light can make or break a show. Angle lights at roughly 30 degrees to reduce glare and cast gentle shadows that reveal texture. For glossy works, test positions that avoid hot spots. Neutral white (around 3500–4000K) keeps colors honest; too cool can sterilize, too warm can muddy. Dimmer zones help modulate the arc—brighter at entrances for clarity, softer in contemplative pockets.
For sculpture, use multiple sources to avoid a single harsh shadow. For time-based media, shield spill so projections read and neighboring works aren’t washed. The Artist should attend light focus if possible; your eye knows what the work needs.
Flow and friction
Map traffic. Where will people naturally gather? Place durable works there. Create friction where you want slowing—a bench, a text, a tighter threshold. Ensure accessibility: clear paths, readable labels, seating. The show that welcomes different bodies welcomes more conversations.
Openings and aftercare
Openings are for community, not critique. You are there to witness the work among people. Listen for the words visitors use; those words might refine future statements. After the crowd, document the install—wide and detail shots. Archive the floor plan with hang heights and light aim notes. The Artist’s archive turns a one-time show into a resource for the next.
Exhibition craft is another medium. Treat it with the same attention you give a canvas. When space, sequence, and light align, the work breathes—and the audience breathes with it.