For many galleries, sales aren’t the greatest draw to miart. Significant hype has developed around the fair’s brand in only three short years since its curatorial revamp. It’s proving to attract a similar crowd of international curators, collectors, other art market players, and press as many of the other major fairs—but with booths that cost only a fraction of the price. Steve Pulimood of Room East, New York explains that it’s exciting to join the fair “not only because of the excellence of the young section, but also because of the leadership of de Bellis. Publications like Kaleidoscope and Mousse, and pioneering spaces like Peep-Hole and Gasconade add to the excitement of looking at contemporary art in Milan right now."
It’s not as if sales are far from dealer’s minds. But in today’s market, certain fairs can be near equally worthwhile, whether its money or business cards that are immediately changing hands. Aside from collectors who, whether due to business conditions in a particular country or general proclivities, are slow to commit to a purchase, curators use fairs with ever-increasing frequency to select artists for museum shows or biennales. With attention flocking to the city this spring thanks to Expo Milano 2015 (which opens May 1st), international exposure at miart is likely to be at an all-time high.