BY ALBERT CHEN
The studio visit deserves a place beside the gallery opening and auction preview. It gives an artist time to explain a body of work and allows a collector to see how individual pieces develop. This is a commercial relationship with room for conversation, rather than a transaction that begins and ends with a price enquiry. Managed well, it can support a more informed purchase and give the artist a better understanding of the people responding to the work.
The Art Basel and UBS Survey of Global Collecting 2026 found that 69% of respondents bought directly from artists in 2025–2026. The survey covered 3,100 high-net-worth collectors across ten markets, so it describes that audience rather than all buyers. Its findings still make a strong case for treating direct communication as a serious sales channel, supported by reliable records and professional follow-through.
Artists can begin with a clear website, an opt-in mailing list and occasional studio appointments. Announcements should tell interested buyers what is available, how the new work relates to the wider practice and what a purchase includes. Direct selling also requires time for photography, enquiries, payments, shipping and after-sales support. Those responsibilities belong in the financial calculation. Artists represented by galleries should check their agreements and agree how direct enquiries will be handled, including any commission due, before accepting a sale.
Collectors should use the access to ask specific questions about materials, dating, edition details and the place of a work within a series. Keep the invoice and any written information supplied, and agree on delivery and payment terms. A personal connection can make ownership more rewarding, but it is not evidence that a work will later sell for more. The strongest benefit of buying directly is the opportunity to understand the work and its maker before deciding what it is worth to you.
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