How to Price Your Art Before the Fair

Pre-Show Art Fair Sales Advice

By Mark Shapiro | The Art Fair Advantage

One of the questions I hear most often before an art fair is:

“Mark, what should I charge?”

Pricing artwork is one of the most difficult decisions an artist or gallery owner makes.

Price too high, and buyers may hesitate.

Price too low, and collectors may question the value.

My advice after decades in galleries, publishing, private sales, and art fairs is simple:

Price with intention, not emotion.

Before you set your prices, ask yourself:

Who is attending this fair?
What does your collector typically spend?
Is this a first-time buyer or an experienced collector?
Are you trying to build a collector base or maximize immediate revenue?
Do your prices make sense when seen together in the booth?

I encourage artists to think about pricing as a three-level collection strategy.

Level One: The Signature Piece

This is your hero artwork.

Your statement.

It is usually your largest, strongest, or most memorable piece.

This work establishes your value and creates visual impact in the booth. You are not discounting this piece. You are making a statement.

It tells collectors:

“This represents my best work.”

The signature piece gives your booth authority. Even if it does not sell during the fair, it helps set the tone for everything else you are presenting.

Level Two: The Secondary Collection

This is where I see many successful art fair sales happen.

I often suggest creating works that are approximately:

30% smaller in scale
30% lower in price

These works should still feel connected to the signature piece. Think of them as part of the same visual conversation.

Collectors may fall in love with the large work but purchase from this category because it feels more attainable. That is not a failure. That is smart pricing.

This level gives collectors a serious way to enter your world without needing to buy the largest or most expensive piece in the booth.

Level Three: The Tertiary Price Point

This is your accessible entry point.

This may include:

Smaller originals
Studies
Works on paper
Framed editions
Small mixed-media pieces
Compact works that can leave with the collector that day

I am not suggesting bargain pricing.

I am suggesting accessibility.

This category allows someone to become part of your collector base without making a major commitment. Many strong collector relationships begin with a first purchase that feels comfortable and meaningful.

Price as a Series, Not as Random Objects

One thing I strongly believe is this:

Collectors respond to consistency.

The collector should be able to understand:

Your visual language
Your price structure
Your artistic point of view
The relationship between one piece and another

Avoid random pricing.

If similar pieces vary wildly in price without a clear reason, buyers become uncertain. Uncertainty slows down sales.

Clarity creates confidence.

My Final Thought

Your booth should offer aspiration, accessibility, and confidence.

One signature piece.
One supporting collection.
One immediate acquisition opportunity.

Price with purpose.

Collectors buy clarity.

See you on the show floor.

— Mark Shapiro
The Art Fair Advantage