How to Prepare Your Prints for a Gallery Show

A gallery exhibition gives your prints a life beyond the studio, but the work needs to arrive in a condition that supports the way it was made. Paper, ink, emulsion, borders, frames and labels all affect how a viewer encounters an image. Careful preparation protects the object and helps a gallery present it with confidence.

The process begins well before opening night. Whether you are showing traditional etchings, screenprints, darkroom photographs, wet collodion images or contemporary digital work, treat every piece as part of a coherent exhibition system. In Australia, that system also needs to account for long freight routes, changing humidity and the practical expectations of local galleries and collectors.

Review Every Print And Its Condition

Start with a condition check in clear, even light. Look for foxing, surface dust, scratches, fingerprints, cockling, fading, stains and marks along the deckled or trimmed edge. Examine the front and back of each print, including the hinge points and the area beneath any existing mount. A photograph of each work can create a useful record before it leaves your studio.

Handle unframed paper with clean, dry hands or suitable cotton gloves, taking care not to transfer fibres or oils to the surface. Place prints on a clean, flat sheet of archival paper while you work. If a print has been stored rolled, allow it to relax gradually rather than forcing it flat beneath heavy objects. Sudden pressure can create new creases or damage a fragile photographic surface.

Paper responds to its surroundings. A humid Brisbane summer, a damp Melbourne winter or the dry air of an Adelaide gallery can affect flatness and tension. Give works time to acclimatise to the exhibition venue, particularly if they have travelled from another state. Ask the gallery about its climate control, lighting and storage conditions before deciding whether a piece requires additional conservation advice.

Establish A Consistent Presentation

A strong installation usually depends on visual consistency. Decide whether the works will be framed, floated, hinged to a mount or presented unframed in a portfolio-style display. The choice should suit the print process and the character of the exhibition. A delicate photogravure may benefit from generous space around the image, while a group of small screenprints might gain energy from a more compact arrangement.

Use conservation-grade materials wherever possible. Acid-free mount board, archival hinges, UV-filtering glazing and a stable backing board can reduce long-term risks. Avoid attaching tape directly to the print. For photographs and works on thin paper, a qualified framer or paper conservator can help determine whether the work should be floated, fully supported or separated from the glazing with a window mount.

Measure everything in millimetres and centimetres, including the paper size, image size, framed dimensions and hanging height. Australian galleries commonly work with metric measurements, and accurate figures make it easier to prepare a floor plan, checklist and wall labels. Keep the visual rhythm consistent across the series, but allow the margins and framing to reflect the individual work rather than forcing every piece into an identical format.

Build Clear Records And Pricing

Create an inventory before packing. Give every work a stable title and catalogue number, then record the process, year, edition information, paper, dimensions and framed dimensions. For an editioned print, distinguish between the image number and the total edition, such as 3/15, and keep artist proofs or printer’s proofs clearly documented. These details help the gallery produce accurate labels and support future sales.

A price list should state whether prices include GST, whether framing is included and how the gallery commission is handled. Confirm these details in writing, as expectations can vary between artist-run spaces, commercial galleries and public institutions. Shipping, insurance, payment timing and returns also deserve attention. Collectors in the Australian market often want a clear record of provenance and edition status, especially when purchasing a photograph or a technically demanding print.

Keep a concise artist biography, exhibition history and process statement ready for the gallery. Your artist CV can provide the factual basis, while a separate short statement can explain the ideas, materials and methods behind the current body of work. Avoid making the gallery search through unrelated information; supply a focused set of files with consistent spelling, dates and image captions.

Photograph, Label And Pack The Work

Make installation-quality images before the works leave your studio. Photograph prints straight on, without glare, and include both a full view and a detail when texture or process matters. Check colour against the original rather than relying entirely on the screen. For reflective glazing, use angled light or photograph the work before framing. Name digital files systematically with the artist name, title and catalogue number.

Wall labels are small, but they carry important information. A typical label may include the artist’s name, title, year, medium, dimensions and edition number. Keep the wording concise and proofread accents, punctuation and capitalisation. If the exhibition includes work by several artists, ask the gallery whether it has a preferred label template. A separate checklist can include retail price, insurance value, sale status and delivery notes without overcrowding the wall.

Pack each print according to its vulnerability and the length of the journey. Place unframed works between archival tissue and rigid boards, then use a sturdy flat portfolio or a custom box. Framed works need corner protection, a moisture barrier and a strong outer carton or crate. Do not let bubble wrap touch an unglazed print directly, as the texture can imprint the surface. For interstate freight between Sydney, Melbourne and Perth, allow extra time and use a carrier that can provide tracking and proof of delivery.

Include a packing list inside every package and retain a copy for yourself. Mark the orientation and handling requirements on the outer packaging, but do not rely on labels alone. For high-value work, arrange transit insurance and confirm who is responsible for a claim if the parcel is delayed or damaged. A short condition report signed on arrival creates a shared reference for the artist and gallery.

Gallery-Ready Checks For The Final Week

The final week is a chance to check practical details rather than make major changes. Review the exhibition sequence, confirm the hanging hardware and verify that every work on the checklist is physically present. If the show includes an artist talk or opening event, prepare a brief explanation of the series, your materials and the decisions behind the installation. Australian openings often combine formal speeches with informal conversation, so a clear, accessible account of the work is useful.

Allow enough time for delivery and acclimatisation, especially when works are travelling from a regional studio to a metropolitan venue. Keep installation instructions simple, and send the gallery a digital folder containing the checklist, high-resolution images, labels and contact details. The more organised the handover, the more time the gallery team can spend on the exhibition itself.

Before the works leave the studio

Inspect and photograph every print
Confirm titles, dates, editions and dimensions
Check framing, glazing and hanging hardware
Save the inventory and condition reports in two places

Information for the gallery

Send labels, prices and high-resolution images
Clarify GST, commission, insurance and freight
Include installation notes and a floor plan if needed
Confirm delivery, storage and collection dates