The Artist's Playbook

Most artists approach gallery outreach backwards — they blast the same generic email to every gallery they can find, then wonder why nobody responds. This system flips that. You'll research first, qualify leads, then craft outreach so specific that gallery directors actually read it. Run this system quarterly and you'll build a pipeline of 10-15 genuinely good-fit galleries every cycle. - Why this gallery specifically: [THE REAL REASON — what about their program made you think your work belongs there] - My strongest credential: [THE ONE THING that would make them take me seriously — a show, a collection, a review, a residency] - What I'm proposing: [STUDIO VISIT / PORTFOLIO REVIEW / JUST INTRODUCING MYSELF — be clear about the ask] - My website: [URL] Write a first-contact email (under 200 words) that: - Opens with something specific about their gallery — a recent show I saw, an artist of theirs whose work I admire and why, something that proves I'm not mass-emailing - Gets to what I do in 2 sentences max, with enough specificity that they can picture the work - Makes the connection between my work and their program explicit but not forced - Has a clear, low-pressure ask (not "please represent me" — something like a studio visit or "I'd love to share my portfolio when you have a moment") - Includes my website link but doesn't attach 15 images - Signs off warmly but professionally Also write: - A subject line that a busy gallery director won't skip (not "Artist submission" — something specific) - A follow-up email for 2 weeks later if they don't respond (short, not needy, adds one new piece of information) - A follow-up for 6 weeks later — a light touch that keeps the door open without being annoying STEP 4: TRACK AND ITERATE (Run with ChatGPT) I'm building a gallery outreach tracking system. Create a spreadsheet structure with these columns: - Gallery name - City - Director name - Email - Date of first contact - Subject line used - Response (Y/N/Pending) - Follow-up 1 date and response - Follow-up 2 date and response - Notes (what they said, what to reference next time) - Status (Cold / Warm / In Conversation / Declined / Showing) - Next action and date Also give me: - A quarterly review template — 5 questions to ask myself about what's working and what's not in my outreach - A set of rules for when to follow up, when to let go, and when to try a different approach (warm intro, meeting at a fair, attending their openings first)

Pricing is the thing most artists get wrong, and the thing that costs them the most. Too low and you devalue your work and exhaust yourself. Too high and nothing moves. This system helps you build a pricing structure based on evidence, not anxiety. Run it once to set your prices, then revisit every 6-12 months as your career evolves. STEP 1: MARKET RESEARCH (Run with Perplexity AI) I am a [MEDIUM] artist at the [EMERGING/MID-CAREER/ESTABLISHED] stage. I'm based in [CITY/REGION]. My work is [REPRESENTATIONAL/ABSTRACT/CONCEPTUAL/MIXED — brief description]. Typical dimensions are [SIZES YOU USUALLY WORK AT]. I currently sell through [GALLERIES/STUDIO SALES/ONLINE/ART FAIRS/NOT SELLING YET]. My current prices (if I have them): $[RANGE] My exhibition history: [BRIEF SUMMARY — number of shows, solo vs. group, notable venues] Collections my work is in: [LIST, or "none yet"] Reviews or press: [BRIEF SUMMARY, or "none yet"] Research the current market for artists at my level working in [MEDIUM]: - What are comparable artists charging for similar-sized works? Give me 5-8 specific comparisons with artist names, galleries, and price points - What's the typical price range for [MEDIUM] at my career stage in my region vs. major markets? - How do prices typically break down by size for this medium? (Is there a standard per-square-inch or per-linear-inch rate?) - What are the current trends in this segment — are prices rising, flat, or softening? - What's the typical gallery commission in my market? (50/50, 60/40, other?) - Are there auction records for artists at my level that would be useful benchmarks? - What are art consultants and corporate buyers paying for work like mine? STEP 2: BUILD YOUR PRICING STRUCTURE (Run with Claude Sonnet) Based on my market research, I need to build a pricing structure for my work. My research findings: [PASTE KEY FINDINGS FROM STEP 1] My current situation: - Medium: [MEDIUM] - Career stage: [EMERGING/MID-CAREER/ESTABLISHED] - Where I sell: [CHANNELS] - Average time per piece: [HOURS — be honest] - Materials cost per average piece: $[AMOUNT] - Studio overhead per month: $[RENT + UTILITIES + INSURANCE + SUPPLIES] - How many pieces I make per year: [NUMBER] - Annual income goal from art: $[TARGET — what you actually need to live] Build me a complete pricing structure: 1. SIZE-BASED PRICING CHART: A clear chart that gives me a price for every standard size I work at, with the formula visible so I can calculate custom sizes. Include: - Retail price (what a collector pays) - Gallery price (after commission — what I actually receive) - Studio sale price (direct sale, if I offer that) 2. PRICING RULES: - How to price commissions (what's the markup over standard work?) - How to price works on paper vs. canvas vs. other substrates - How to handle edition pricing for prints (if applicable) - When and how to raise prices (what triggers justify an increase?) - How to handle "friends and family" pricing without undermining my market - What to do when a gallery asks me to lower my prices - How to price for different markets (local vs. major city vs. international) 3. REALITY CHECK: - At these prices, how many pieces do I need to sell per year to hit my income goal? - Is that number realistic given my production rate and current market? - If the math doesn't work, what are my options? (More work, higher prices, different channels, teaching/licensing income) STEP 3: THE MONEY CONVERSATION SCRIPTS (Run with Claude Opus) I need scripts for the hardest conversations about money that artists have. Write these in my voice — confident, professional, not apologetic. My pricing structure: [PASTE YOUR PRICING CHART FROM STEP 2] Write scripts for these scenarios: 1. A collector asks "What's the best you can do on price?" — how to hold firm without being rigid 2. A gallery wants to represent me but thinks my prices are too high — how to negotiate 3. A gallery wants to represent me but my prices are too low for their program — how to raise strategically 4. Someone wants to commission a piece — how to quote, what to include, how to structure payments 5. A friend wants to buy work at a discount — how to handle it without resentment or market damage 6. An interior designer wants to buy 5 pieces for a project — how to structure a volume deal 7. I need to raise my prices — how to communicate this to existing collectors and galleries 8. Someone asks to "borrow" a piece for their home or office — how to set terms 9. A client wants to return a commissioned work — what's my policy? 10. I want to offer payment plans — how to structure them professionally For each scenario, give me: - The opening line (word for word — what do I actually say?) - The key principle to remember - What NOT to say (the common mistakes) - How to close the conversation gracefully STEP 4: ANNUAL PRICING REVIEW (Run with ChatGPT) Create a pricing review checklist I can run every 6-12 months: - What data should I gather before adjusting prices? - What career milestones trigger a price increase? (Major show, museum acquisition, award, gallery upgrade) - How much should prices go up each time? (Percentage guidelines by career stage) - How to track my sell-through rate and what it tells me about my pricing - Template for notifying galleries and collectors about price changes - How to handle existing inventory when prices go up (honor old prices? Grandfather certain collectors?)

Most artists treat grants like lottery tickets — they hear about one, rush the application, and hope for the best. This system turns grant writing into a practice. You'll build a pipeline, develop reusable materials, and approach each application strategically. Artists who apply systematically win more often. Run the discovery step quarterly, the application steps for each deadline. STEP 1: GRANT DISCOVERY AND QUALIFICATION (Run with Perplexity AI) I am a [MEDIUM] artist based in [CITY/STATE/COUNTRY]. I am [AGE, if relevant for eligibility]. My work explores [CORE THEMES — 2-3 sentences]. I am at the [EMERGING/MID-CAREER/ESTABLISHED] stage. Demographics that may affect eligibility: - Gender identity: [IF RELEVANT] - Race/ethnicity: [IF RELEVANT] - Disability status: [IF RELEVANT] - Veteran status: [IF RELEVANT] - Other: [IMMIGRANT, FIRST-GENERATION, RURAL, etc.] I'm looking for grants, fellowships, and funded residencies. Search for opportunities that: - I'm actually eligible for (check age, location, medium, career stage requirements) - Have deadlines in the next 6 months - Range from local/regional (higher odds) to national/international (higher prestige) - Include both project-based grants and unrestricted fellowships - Cover these categories: creation/production, professional development, travel, community engagement For each opportunity, give me: - Grant name and organization - Award amount or range - Deadline - Eligibility requirements (am I actually eligible?) - What they fund (project-specific vs. unrestricted) - What they want in the application (narrative, work samples, budget, references) - Competitiveness (number of applicants vs. awards given, if known) - Link to application - My honest assessment: is this a strong fit, a stretch, or a long shot? Organize by deadline, nearest first. Flag the top 5 I should prioritize. STEP 2: APPLICATION STRATEGY (Run with Claude Sonnet) I'm applying to [GRANT NAME] from [ORGANIZATION]. The deadline is [DATE]. Here's what they're asking for: [PASTE THE APPLICATION REQUIREMENTS — narrative questions, page limits, work sample specs, budget requirements] Here's what they've funded before: [PASTE OR SUMMARIZE PREVIOUS GRANTEES IF AVAILABLE — names, project descriptions, any patterns you notice] My project: - What I want to do: [DESCRIBE YOUR PROJECT OR WHAT THE FUNDING WOULD SUPPORT] - Why now: [WHAT MAKES THIS THE RIGHT MOMENT FOR THIS PROJECT] - Timeline: [WHEN WOULD THE WORK HAPPEN] - Budget needs: [HIGH-LEVEL — what the money would actually pay for] - How this connects to my larger practice: [WHY THIS ISN'T RANDOM — how it fits into your trajectory] Build me an application strategy: 1. PANEL PERSPECTIVE: Based on their previous grantees and stated priorities, what is the review panel likely looking for? What values, themes, or approaches seem to resonate with this funder? 2. MY ANGLE: How should I frame my project to align with their priorities while being genuine? What aspects of my work should I emphasize? What should I downplay? 3. NARRATIVE OUTLINE: A section-by-section outline for my project narrative that: - Answers every question they ask, in the order they ask it - Leads with the most compelling element - Anticipates panel questions or concerns - Stays within their word/page limit 4. WORK SAMPLE STRATEGY: Which pieces should I submit and in what order? (If I describe my work, help me decide; if I give you my portfolio, help me curate the selection) 5. COMMON MISTAKES for this type of grant: What do applicants typically get wrong? STEP 3: WRITE THE APPLICATION (Run with Claude Opus) I'm writing my application for [GRANT NAME]. Here's my strategy: [PASTE YOUR STRATEGY FROM STEP 2] My project details: [PASTE EVERYTHING RELEVANT — project description, CV highlights, previous grant history, budget details] Their specific questions or prompts: [PASTE EACH QUESTION FROM THE APPLICATION] Word or page limit: [SPECIFY] Write my complete application narrative. For each section: - Answer their exact question — don't dance around it - Be specific and concrete — panels read hundreds of vague applications - Show why I'm the right artist for this project (not just why the project is good) - Include measurable outcomes where possible (number of works, exhibitions planned, community members engaged) - Write in my voice — passionate and clear, not academic or bureaucratic - Leave room for the work to breathe — don't over-explain every decision Also write: - PROJECT SUMMARY (50-100 words): The elevator pitch version that a panelist can grasp in 30 seconds - BUDGET NARRATIVE: A paragraph explaining and justifying each budget line item - TIMELINE: A month-by-month or phase-by-phase project schedule STEP 4: BUDGET TEMPLATE (Run with ChatGPT) Create a detailed project budget for my grant application to [GRANT NAME]. Grant amount: $[AMOUNT I'M REQUESTING] Project: [BRIEF DESCRIPTION] Timeline: [DURATION] My actual costs: - Materials: $[ITEMIZE — canvas, paint, clay, film, etc.] - Equipment: $[ITEMIZE — camera rental, kiln time, printing, etc.] - Studio space: $[MONTHLY COST x MONTHS] - Travel: $[ITEMIZE — research trips, installation travel, etc.] - Documentation: $[PHOTOGRAPHY, VIDEO, PRINTING] - Shipping/transport: $[ESTIMATE] - Artist fee: $[MY TIME — calculate based on hours x reasonable rate] - Other: $[ASSISTANTS, CONSULTANTS, INSURANCE, etc.] Build a professional grant budget that: - Uses line items that funders expect to see - Includes both the grant request and any matching/in-kind contributions (makes the application stronger) - Adds a reasonable contingency (5-10%) - Totals correctly - Separates "requested from this funder" from "secured from other sources" if applicable - Includes brief justification notes for any line item over $500 STEP 5: PRE-SUBMISSION REVIEW (Run with Claude Sonnet) Before I submit, review my complete application for [GRANT NAME]: [PASTE YOUR FULL APPLICATION — narrative, budget, timeline, summary] Their requirements: [PASTE THEIR GUIDELINES ONE MORE TIME] Review for: 1. COMPLETENESS: Did I answer every question they asked? Did I miss any required elements? 2. CLARITY: Would someone outside my field understand what I'm proposing? 3. SPECIFICITY: Am I being concrete enough, or am I hiding behind vague language? 4. ALIGNMENT: Does my application clearly connect to their stated priorities and values? 5. BUDGET: Do the numbers add up? Are any line items going to raise eyebrows? 6. VOICE: Does this sound like me, or does it sound like it was written by AI? (If it sounds like AI, tell me which parts to rewrite in my own words) 7. RED FLAGS: Anything that might give a panelist pause or raise questions I haven't addressed? 8. WORD COUNT: Am I within their limits? Give me specific, actionable feedback — not "this is good." Tell me exactly what to fix and how.

Collectors don't just buy art — they build relationships with artists. The artists who sell consistently aren't necessarily the most talented; they're the ones who make collectors feel connected to their work and their journey. This system helps you build genuine, lasting collector relationships that lead to repeat purchases, referrals, and real patronage. Not sleazy sales tactics — real relationship building. STEP 1: COLLECTOR PROFILE AND RESEARCH (Run with Perplexity AI) I have a potential collector: [NAME]. Here's what I know about them: - How we connected: [MET AT OPENING/INSTAGRAM/REFERRED BY/BOUGHT AT FAIR/OTHER] - What they do: [PROFESSION, if known] - What they collect: [DESCRIBE THEIR COLLECTION, if known — medium, style, price range, any artists you know they own] - Budget indicators: [WHAT SUGGESTS THEIR PRICE RANGE — where they live, where you met, what they've bought before] - Their engagement level: [JUST INTERESTED/ASKED ABOUT PRICING/PREVIOUS BUYER/ACTIVE COLLECTOR] - What they responded to in my work: [WHICH PIECE, WHAT DID THEY SAY] Research this collector: - Are they a known collector? Any public collection, advisory board memberships, or art-world connections? - What patterns can you see in what they collect? (If they have an Instagram or public presence) - What's their likely collecting motivation? (Investment, passion, status, supporting artists, decorating, all of the above) - What price sensitivity signals should I watch for? - Any connection points I should know about? (Shared alma mater, mutual friends in the art world, interest in my region) Build me a brief on this collector that helps me have a real conversation with them — not a sales pitch. STEP 2: THE STUDIO VISIT FRAMEWORK (Run with Claude Opus) I have a studio visit scheduled with [COLLECTOR NAME]. Based on what I know about them: [PASTE YOUR COLLECTOR BRIEF FROM STEP 1] My studio situation: - Studio location: [WHERE — is it easy to find, parking, neighborhood character] - What's currently in the studio: [DESCRIBE — works in progress, finished pieces, how many walls of work] - Price range of available work: $[LOW] to $[HIGH] - Pieces I'd love them to see: [LIST 3-5 SPECIFIC WORKS AND WHY] - My comfort level with selling in the studio: [VERY COMFORTABLE/NERVOUS/FIRST TIME] Build me a studio visit game plan: 1. PREPARATION CHECKLIST: - How to arrange the studio (what to show, what to put away, what to leave "casually" visible) - What to have ready (price list, CV, business cards, refreshments) - Which pieces to have on the walls and in what order - What to wear (seriously — it matters and artists overthink it) 2. THE VISIT FLOW (60-90 minutes): - Opening: How to welcome them and set the tone (not "thanks for coming" — something that makes them feel like they're getting special access) - Tour: How to walk them through the work — what to say about each piece, how to read their body language, when to be quiet and let them look - The story: How to talk about my practice, process, and ideas without lecturing or sounding rehearsed - The transition: How to move naturally from "looking at art" to "talking about acquiring art" without it feeling like a sales switch - Closing: How to end the visit — what to say, what to send afterward, what NOT to do 3. PRICE CONVERSATION SCRIPTS: - When they ask "how much is this one?" — exactly what to say - When they love a piece but hesitate — how to read the hesitation and respond - When they want to think about it — how to follow up without being pushy - When they want a deal — how to handle it gracefully - When they want a payment plan — a professional structure to offer 4. FOLLOW-UP SEQUENCE: - Same day: What to send (email or text) - 3 days later: If they haven't decided - 2 weeks later: If you still haven't heard back - After the sale: Thank you, delivery logistics, and setting up the relationship for the next purchase STEP 3: COLLECTOR COMMUNICATIONS (Run with Claude Sonnet) I need to write communications for my collector relationships. My current collector list includes: - Active collectors (bought in the last 12 months): [NUMBER AND NAMES] - Past collectors (bought 1-3 years ago): [NUMBER] - Warm leads (interested but haven't purchased): [NUMBER] - Total list: [NUMBER] Write these communications: 1. QUARTERLY STUDIO UPDATE (email or newsletter): A template for a personal update I can send 4 times a year. Not a generic newsletter — something that makes collectors feel like insiders. Include sections for: - What I'm working on now (1-2 paragraphs with vivid description) - A behind-the-scenes image or moment from the studio - Upcoming shows or events (with early-access or preview offers for collectors) - One available work with a brief story about it (soft sell, not pushy) 2. NEW WORK ANNOUNCEMENT: Template for when I have new work ready — how to give collectors first access before it goes to a gallery or public. Make them feel like they're getting a private preview. 3. EXHIBITION INVITATION: Template for personally inviting collectors to a show — not the generic gallery blast, but a personal note that makes them feel valued. 4. ANNUAL THANK YOU: Year-end letter to collectors who've supported my work. Sincere, personal, and subtly reinforcing that their collection is growing in value as my career develops. 5. THE RE-ENGAGEMENT EMAIL: For collectors who've gone quiet — a warm, no-pressure check-in that reopens the conversation without feeling like a sales call. STEP 4: COLLECTOR RELATIONSHIP TRACKER (Run with ChatGPT) Build me a collector CRM system — a spreadsheet or database structure to track my collector relationships: Columns: - Collector name - Email / Phone / Instagram - How we met - Works they own (title, date purchased, price) - Works they've expressed interest in - Preferred medium/size/subject - Price range - Communication preference (email/text/phone/in-person) - Last contact date - Last purchase date - Total lifetime purchases - Notes (personal details — spouse name, pets, home style, birthday) - Relationship status (New Lead / Warm / Active / VIP / Dormant) - Next action and date Also give me: - A tagging system for segmenting collectors (by price range, medium preference, geography, engagement level) - Automated reminder rules (when to reach out based on last contact) - A quarterly review template: 5 questions about my collector relationships and pipeline health

A solo show is the most important event in an artist's calendar. Most artists focus on making the work and hope the gallery handles the rest. This system ensures nothing falls through the cracks — from PR to collector outreach to opening night logistics to post-show sales. Whether your gallery is hands-on or hands-off, this system keeps you in control of your own career moment. STEP 1: EXHIBITION PLANNING (12 Weeks Out) (Run with Claude Sonnet) I have a solo exhibition coming up. Here are the details: - Gallery: [NAME] in [CITY] - Opening date: [DATE] - Show runs: [START DATE] to [END DATE] - Number of works: [HOW MANY PIECES] - New work or existing: [ALL NEW / MIX / EXISTING BODY OF WORK] - Gallery's role: [WHAT THEY'RE HANDLING — press, invitations, installation, sales, opening reception] - What I need to handle myself: [WHAT'S ON ME] - Budget for promotion: $[AMOUNT, or "minimal"] - My collector list size: [NUMBER OF PEOPLE] - Social media following: [APPROXIMATE — Instagram, email list] - Previous solo shows: [NUMBER AND WHERE] Build me a complete exhibition launch plan: 1. 12-WEEK COUNTDOWN: Week-by-week checklist covering: - Artwork completion and framing deadlines - Photography and documentation (when to hire a photographer, what to shoot) - Written materials (statement, press release, catalog text — when each needs to be done) - PR timeline (when to send press releases, who to pitch, media lead times) - Collector outreach calendar (when to notify different tiers) - Social media content calendar (what to post each week leading up) - Logistics (shipping, installation schedule, lighting, labels) - Opening reception planning (food, drink, music, run of show) - Sales materials (price list, red dots, invoice templates) 2. STAKEHOLDER COMMUNICATION PLAN: - Gallery: What to align on and when (expectations, responsibilities, sales terms) - Collectors: Tiered outreach strategy (VIPs first, then warm leads, then broader list) - Press: Who to pitch, when, and with what materials - Peers and community: How to generate word-of-mouth - Social media: Content strategy that builds anticipation without showing everything STEP 2: PR AND PRESS CAMPAIGN (Run with Claude Opus) I need to build a press campaign for my solo show. Exhibition details: [PASTE FROM STEP 1] My press history: - Previous coverage: [LIST ANY PUBLICATIONS THAT HAVE WRITTEN ABOUT ME] - Press contacts I have: [ANY JOURNALISTS, CRITICS, OR EDITORS I KNOW] - Press kit materials I have ready: [HIGH-RES IMAGES/BIO/STATEMENT/CV] Write: 1. PRESS RELEASE (one page): Following standard art-world press release format: - Headline with my name, show title, gallery, dates - Opening paragraph: What the show is, where, when, the hook - Second paragraph: What the work is about — vivid and specific - Third paragraph: My background and context (why this matters now) - Exhibition details block: address, hours, contact, website - Image caption for the lead image - Note about availability for interviews 2. MEDIA PITCH EMAIL (3 versions): - For art publications and critics: Emphasize the work, the ideas, the visual impact - For local press and lifestyle media: Emphasize the event, the story, the human angle - For niche press aligned with my themes: Emphasize the relevance to their specific audience 3. MEDIA LIST STRATEGY: - Categories of publications to target (national art press, local arts coverage, design/lifestyle, niche/thematic) - What to send to each category (full press kit vs. short pitch vs. exclusive offer) - Timeline for outreach (magazines need 3 months, online needs 2-4 weeks, social media influencers need 1-2 weeks) - How to offer exclusives strategically 4. INTERVIEW PREP: - 10 questions a journalist is likely to ask about this show - Concise, quotable answers for each one - 3 talking points I want to make sure I hit regardless of what they ask - The one sentence I want to see quoted in a review STEP 3: OPENING NIGHT PLAYBOOK (Run with Claude Sonnet) My opening reception is on [DATE] from [TIME] at [GALLERY]. Expected attendance: [NUMBER] The gallery is handling: [WHAT THEY'RE DOING — drinks, invitations, staff] I'm handling: [MY RESPONSIBILITIES] VIP collectors attending: [LIST NAMES — who I need to make sure I connect with] Press attending: [ANY CONFIRMED] Build me an opening night playbook: 1. DAY-OF TIMELINE: - When to arrive, what to check, final walkthrough - Where to position myself during the opening - How to manage my energy (these are exhausting) 2. CONVERSATION GUIDES: - How to talk about the work to strangers (30-second version) - How to talk to collectors who are clearly interested (transition to "let's talk more") - How to handle "I love it, what does it cost?" in a crowded room - How to introduce myself to someone I want to connect with (curator, writer, collector) - How to gracefully exit a conversation that's going nowhere 3. SALES STRATEGY: - How to handle red dots and holds during the opening - What's my gallery's policy on opening-night sales vs. waiting? - How to follow up with interested buyers the next day - What to do if multiple people want the same piece 4. DOCUMENTATION: - What to capture on my phone during the opening (and when — don't spend the whole night on Instagram) - Who to ask to take photos of me with collectors (for relationship records, not social media vanity) - What to post during vs. after the event 5. POST-OPENING (Next 48 hours): - Thank-you messages to the gallery, collectors, and anyone who helped - Follow-up with every serious inquiry - Social media post about the opening (what to share, what to keep private) - Debrief notes for myself: What worked, what didn't, what would I do differently STEP 4: POST-SHOW STRATEGY (Run with Claude Opus) My show at [GALLERY] has closed. Here's how it went: Sales results: - Total works: [NUMBER SHOWN] - Works sold: [NUMBER] - Total revenue: $[AMOUNT] - Notable collectors who purchased: [NAMES] - Works that got the most attention but didn't sell: [WHICH ONES AND WHY] - Press coverage received: [LIST] - New contacts made: [APPROXIMATE NUMBER] Now I need a post-show strategy: 1. RELATIONSHIP FOLLOW-UP: - Personalized thank-you notes to every buyer (write these for me based on what they purchased) - Follow-up with everyone who expressed interest but didn't buy (warm, no-pressure, "here's what's still available") - Thank-you to the gallery team - Thank-you to press contacts who covered the show 2. UNSOLD WORK STRATEGY: - What to do with work that didn't sell (keep at gallery? Move to another venue? Hold for fairs? List online?) - How to market unsold work without looking desperate - When to retire work vs. continue showing it 3. CAREER MOMENTUM: - How to leverage this show for the next opportunity (what to say in future pitches and applications) - Updated materials I need (new CV entries, updated statement, press quotes to use) - What this show tells me about my market and where to go next - Who to stay in touch with from this show and how 4. DOCUMENTATION AND ARCHIVE: - Checklist for properly documenting the exhibition (photos, press, sales records, visitor feedback) - How to update my website and portfolio - What goes in my permanent records vs. what's ephemeral 5. DEBRIEF QUESTIONS: - 10 honest questions to ask myself about how the show went — what worked, what I'd change, what surprised me, and what I learned about my practice, my market, and my audience