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What 25,000 Artists Taught Us About Showing Art Before Streeters Gallery existed, we spent six years running The Holy Art. Over 400 exhibitions. Nine cities. 25,000+ artists. Tens of thousands of submissions reviewed. That's a lot of art. And a lot of lessons. Here's what we learned along the way. These are the patterns, the surprises and the truths that came from watching thousands of artists show their work for the first time. The best work isn't always the most technical Y

We get asked this a lot. "What's the difference between Streeters and The Holy Art? Which one should I apply to?" Both galleries are run by the same team. Both put your work in front of collectors and art lovers. Both accept all mediums and welcome emerging artists. But they serve different needs. Here's the breakdown so you can pick the right one for where you are right now. The Holy Art: international exhibitions across nine cities The Holy Art is an international contempor

The art world has changed. Ten years ago, exhibiting meant one thing: your work on a wall in a physical gallery. Today, digital exhibitions are a real option with real audiences and real opportunities. But which one is right for you? And do you have to choose? Here's the honest breakdown of physical and digital exhibitions, what each one offers and how to use both to build your career. What is a physical exhibition? A physical exhibition is the traditional format. Your origin

Submitting your work to a gallery for the first time feels like sending a message into the void. You don't know if anyone will see it. You don't know what they're looking for. You don't know if your work is good enough. This guide breaks down exactly how to submit your art to a gallery, what galleries look for in a submission, and how to give yourself the best chance of being selected. Understand the different types of submissions Not all galleries accept submissions in the s

Every gallery has an origin story. Ours starts with The Holy Art. Built on six years of exhibitions Streeters Gallery didn't come out of nowhere. It was built by the same team behind The Holy Art, one of the largest international contemporary art galleries for emerging and established artists. Over six years, The Holy Art has exhibited over 25,000 artists across nine cities. London, New York, Tokyo, Paris, Milan, Athens, Barcelona, Amsterdam and Brighton. Over 400 exhibitions

There's a difference between being a local artist and being an international artist. It's not about talent. It's about where your work has been seen. An exhibition in your home city is a great start. But showing your work in another country changes the way people see you, the way galleries treat you and the way you see yourself. Here's why every artist should exhibit internationally at least once in their career. It transforms your CV "Group Exhibition, London" is solid. "Gro

Whether you're an artist looking for shows to apply to or an art lover looking for something to see this year, here's what's happening across three of the biggest art cities in the world. London Art Exhibitions 2026 London's art scene never slows down. From the major institutions to the smaller independent galleries, there's always something worth seeing. The big institutions run their headline shows throughout the year. Tate Modern, the Hayward Gallery, the Barbican and the

You know the kind. "Jane Smith is a multidisciplinary artist whose practice explores the intersection of memory and materiality through a lens of post-colonial discourse." Nobody reads that. Nobody remembers it. Nobody cares. An artist bio should make someone want to see your work. It should sound like a person wrote it, not a press release generator. Here's how to write one that actually works. Keep it short Your bio should be 80 to 150 words. That's it. If someone needs mor

Your portfolio is your ticket in. It's the first thing a gallery sees when you apply to a show. Before your name, before your bio, before anything else, they look at the work. A strong portfolio doesn't need to be huge. It doesn't need a fancy website. It doesn't need 50 pieces. It needs to be clear, focused and honest about what you do. Here's how to build one that actually gets you into exhibitions. Quality over quantity The biggest mistake emerging artists make is showing

You've made the work. You've posted it online. Maybe a few people liked it. Maybe someone said "I'd buy that" but never actually did. Making your first real sale feels impossible until it happens. Then it changes everything. Not because of the money, although that helps, but because someone looked at something you made and decided it was worth paying for. Here's how to make it happen. Why most artists never sell anything The reason most artists never sell isn't because their

If you're an artist looking for exhibition opportunities in 2026, this is the most up to date list of what's available right now. We've put this together because we know how frustrating it is to search for open calls and find expired deadlines, vague application processes and galleries that charge a fortune for a spot on a shared wall in the back room. Here's what to look for, what to avoid and where to apply. What makes a good exhibition opportunity Not all open calls are eq

You've been making work for a while now. Maybe years. You've posted it online, shown it to friends, maybe sold a few pieces through Instagram. But you've never had your work on a gallery wall. You want to. You just don't know where to start. This is the guide we wish someone had given us when we started. No fluff. No art world jargon. Just the steps. Step 1: Decide what you want from exhibiting Before you apply anywhere, figure out what you actually want. There's no wrong ans

You're not going to be ready. Not next month. Not next year. Not after you finish that series. Not after you buy better materials. Not after you take that course. Not after you get more followers. Not after you feel confident enough. You're never going to feel ready. Nobody does. And if you keep waiting for that feeling, you'll be waiting forever. The lie artists tell themselves "I'll apply when my work is good enough." We hear this all the time. Artists who have been making

Nobody ever looked at a painting and said "this would be better if the artist had a masters." But somehow the art world decided that credentials matter more than the work. Galleries want to know where you studied. Open calls ask for your education history. Residency programmes filter by degree before they even look at your portfolio. It makes no sense. And it's holding back some of the most talented people making art right now. The degree myth Here's what an art degree gives

Every emerging artist dreams of the solo show. Your name on the door. A whole room dedicated to your work. All eyes on you. It sounds great. But if you're early in your career, a solo show is probably not what you need right now. A group show is. Here's why. The pressure of a solo show is brutal A solo show means you need enough work to fill an entire space. Depending on the venue that could be 10, 15, 20 pieces. All of them need to be strong. All of them need to feel connect

You made something. Someone asks you what it's about. Your brain goes blank. You mumble something about "exploring the relationship between space and emotion" and immediately want to disappear. We've all been there. Talking about your own work is one of the hardest things about being an artist. It feels unnatural. It feels pretentious. It feels like whatever you say is going to be wrong. But here's the thing. If you're exhibiting your work, people are going to ask you about i

Looking for an open call for artists? You're in the right place. Streeters Gallery is running open calls for emerging artists who want to exhibit their work in real gallery spaces across London, Paris and New York. No experience needed. No CV required. All mediums welcome. If you've been searching for a call for artists that actually leads to something real, keep reading. What is an open call for artists? An open call is when a gallery invites artists to submit work for a cha

Most open calls promise you a spot on a wall. That's easy. Anyone can rent a room and hang some art. The hard part is getting the right people to show up. That's where Streeters is different from every other gallery offering exhibition spots to emerging artists. We don't just give you a wall. We give you an audience that already exists. The network behind Streeters Streeters Gallery is the sister gallery of The Holy Art. If you don't know The Holy Art, here's what you need to

Traditional galleries have had the same model for decades. An artist gets "discovered." They get representation. The gallery takes a commission on every sale. The gallery decides what goes on the wall, when it goes up and who gets to see it. The artist waits and hopes for the best. That model works for maybe 1% of artists. Everyone else gets ignored. We're not interested in being that kind of gallery. We don't represent artists Let's start there. Streeters Gallery does not re

We've got three shows coming up across three cities and the question we keep getting is "which one should I apply for?" Here's the honest breakdown to help you decide. Paris: 4 to 6 September 2026 Paris is where art lives. The audience here is a mix of local collectors, international tourists and people who genuinely spend their weekends going to exhibitions. The art scene is everywhere in Paris. It's not limited to a handful of neighbourhoods like some cities. People stumble