Documentation is the asset
Badly photographed art does not sell and cannot be archived. We document work properly — colour-accurate, even lighting, no keystone distortion, detail frames for texture and signature — and build an asset library the gallery keeps. That same library then feeds the invite, the catalogue, the website, the press release and the ads, which is why documentation is the first spend, not the last.
Exhibitions run on a tight countdown
A show has a date, which makes the campaign a countdown rather than an always-on programme. We work backwards: artist and curatorial storytelling in the weeks before, press and invite distribution, a hard push on opening week, then a second wave mid-run aimed at people who meant to come and did not. Post-show content closes the loop for collectors who could not travel.
Collectors buy a story, not a surface
Serious buyers want the artist's history, the technique, where the work sits in a body of practice, who else holds it. We produce that — artist on camera, process footage, curatorial notes, short films that explain a series — because at collector price points the written and filmed context does more selling than any image alone.
Reach the people who actually attend
Art audiences are small and specific. Broad targeting wastes budget fast. We build from what is real: your own visitor and buyer lists, lookalikes from them, and tight interest and geography layers around the city hosting the show. For a Delhi retrospective, a precise audience of a few hundred thousand beats a national campaign every time.