More mutually beneficial and inclusive partnerships are another way to bridge the gap. While it is difficult to manage with shrinking budgets, art critics should consider coverage outside of the city centers, possibly through syndicating work by local news organizations—perhaps the excellent stories regarding local artists in Bad at Sports or Glasstire, for example, could be published online in international periodicals. The exhibition exchange platform Condo brought smaller galleries from abroad to New York, giving them the chance to showcase highlights from their roster and gain exposure at some of New York’s most interesting gallery spaces. It would be great to see more impactful programs that facilitate introductions like the Curatorial Forum, hosted and arranged by EXPO Chicago and Independent Curators International (ICI), where curators from collecting institutions get to know Chicago and its artists, and can engage with the participating galleries at the fair.
Wherever they choose to live and work, most artists share one fundamental definition of success: to have the ability to continually create work, make a living off that work, and have that work be part of a larger conversation. Those of us who live in service of art should broaden our perspectives to include artists beyond our zip codes. That will require from us more curiosity and less snobbery—both worthy aims in and of themselves. If we succeed, the reward is a more diverse, vibrant, and inclusive art world.