Robert Curcio
The Business of Art
In Conversation with Jonathan Goodman
October 7, 2025
Image: Robert Curcio, portrait by Sebastian Piras, 2020
Robert Curcio is a New York based art consultant, who was training as an artist enriching the strength of his business. We know how important business is to the general culture in America—in this country, financial exchanges take precedent. This interview addresses economic maneuvering in the arts and how the impact of cash cannot be overemphasized. The pricing of individual works of art has followed the general rise of costs in New York City, whereas the city itself has become so crowded with new generations of artists, and so expensive for those making work without support, that there has been a number of artists moving north (beginning near the commuting town of Cold Spring and continuing as far north as Albany). Curcio’s depth of experience makes him an excellent person to talk to about the vagaries of the art market. More than most consultants, Curcio understands the increasingly complex exchange between the economic needs and tight finances we face in art today. Curcio, whose East Village walk-up puts him squarely in an artistic neighborhood, addresses these issues with depth and insight.
Jonathan Goodman: You grew up on Long Island but studied art at Tyler School of Art, Philadelphia. Then you switched from image-making to the business of art, a vocation keeping you busy in New York for three decades. Why did you switch vocations? Does your current work demand similar or different skills when you compare art consulting to painting or sculpture?
​
Robert Curcio: In the early 90s, I was the director of the Ward-Nasse Gallery in Soho, where I was doing almost everything – curating five exhibits a year, planning the budget, writing releases. Additionally, I was installing the exhibits, working with the board, moving the gallery toward being an alternative space instead of a co-op, and trying to be an exhibiting artist. After a few years of going 24/7 with the gallery and making art, I burned out. That’s when I decided to focus on the art business rather than making art.
​
I look at curating, writing, consulting, and other “hats” as my media I use in my art practice as if I were in the studio. My artist creativity combined with my art business resourcefulness makes me adaptable, no matter whether consulting with artists, gallerists, curating an exhibit, or making a sale. There definitely is a crossover between making and consulting. You need a deep knowledge of art, art history, and aesthetic concerns to be facile in the business of interfacing with various clients while being creative.
​
Jonathan Goodman: How important should the business of art be? Isn't it more useful to follow an etiquette moving in the direction of aesthetics, as opposed to financial concerns?
​
Robert Curcio: There is that “sweet spot” where business and aesthetics work together, but it’s elusive. The business side of art should be as important as aesthetics, but at different junctures. While in the studio, it’s all about aesthetics and the work itself. Once the work is finished, sometimes even before, business plays a big part – what’s the price, where is it going to be exhibited, who’s paying for shipping, and a host of other business and financial considerations.
​
By only following the direction of aesthetics, the old stereotype of an artist suffering for his art in some dingy studio, only to be successful after their death, will remain the norm. Conversely, a gallery could sell most or all of an exhibit, which is great business for everyone. However, if that exhibit doesn't receive reviews or further exhibition opportunities, then aesthetically it could be considered a flop. Again, it's finding the sweet spot where business and finance merge with esthetics that makes it all worthwhile.
​
​
Jonathan Goodman: You were one of the founders of the Scope art fairs. What was the catalyst to start Scope? Besides art fairs for galleries, there are now numerous artist-focused fairs. What is the impact on artists and the making of art versus galleries and their business when it comes to art fairs?
​
Robert Curcio: I participated in a couple of local art fairs in the late 90s. At that point, I had a great time and wanted to participate in others. I applied to the few that were around, and all of them said No Then I was added to the dreaded wait list. Other gallerists were getting the same responses, and from that frustration, Scope started.
​
The focus on selling at fairs is greatly impactful to both artists and galleries. Artists spend less time in the studio creating and more time knocking out stuff that sells. The same goes for galleries; they have to show works that sell. Everything becomes sales-specific at fairs; hopefully, afterwards, there’s more creativity for both the artists and galleries.
​
Jonathan Goodman: Please describe in detail your work. Does the connection between artists and galleries serve as your primary responsibility?
Robert Curcio: Let’s start with the difference between a consultant and an advisor, especially within the art business. The primary difference is that an advisor manages the purchasing or selling of artworks for their clients, whereas a consultant is hired for a specific project, such as curating or securing media coverage. As with most things in the art world, the distinctions can blur, and I often find myself doing a little bit of both.
​
My primary clients are artists, galleries, and art fairs, ranging from just starting to established, where I’m hired for a specific project or several things simultaneously. I am also involved with writing, curating, fundraising, events, and pr/media.
​
Artists hire me to contact galleries, curators, museums, and others for exhibitions; liaise between the space and the artist; manage pr/media for an exhibition or their career; curate an exhibition; manage all aspects of an exhibition; write an exhibition release or short essay.
For a gallery, it could be to set. up a liaison with artists or bring new artists to their attention; curate exhibitions; bring collectors, media, museums, and others to the gallery; organize events; assist in opening a gallery or second location in NYC; manage pr/media for an exhibit or the whole gallery.
With fairs, it ranges from securing exhibitors, bringing collectors and VIPs, organizing events, developing programming, staff management, curating an exhibition, and pr/media.
​
Jonathan Goodman: How have prices for your services changed? How do you determine the cost of what you do? In the interactions you have with artists and gallerists, who determines the fee? Do you accept art as full or partial payment for what you do?
​
Robert Curcio: My prices have been the same for over 10 years. I think I’m due a “cost of living” increase. The client and I discuss what they want to achieve, whether it is one or several projects, and the duration, one-time or ongoing. If a client has a budget, then I’ll work within it; if they don’t, then I’ll determine a fee.
​
Some examples of this: I was discussing with a gallery working as a consultant to them where I would promote and bring collectors, media, and others to the gallery; promote exhibitions to writers and secure reviews, articles, and catalog essays; curate one or two exhibits a year, introduce curators to the gallery and work with them to curate exhibitions; promote and be at all gallery events. All for a monthly retainer of $3,500 for a year.
Fairs mainly want me to secure exhibitors, which is 10% to 15% commission of the booth price. They might also need assistance with pr/media, collectors, and museum groups, or something else, then it’s an additional fee. Both commission and additional fee depend on whether it's one or multiple fairs, artist or gallery fair, and other considerations. Some fairs pay for my travel and accommodation in addition to commission and/or fee. Others wouldn’t even consider it.
​
I consulted on Victor Liu and Laura Smith’s exhibit, Magnetic, at PS 122, NYC, last winter, which was a success, with reviews and media coverage. We met and discussed the exhibit and what they needed assistance with, mainly someone to write and distribute a release, bring people to the exhibit and events, and assist in general. I gave them a proposal that included what was discussed and a video of the exhibit. I had secured reviews in WhiteHot Magazine and Tussle, numerous media posts, brought many to the exhibit, some visitors the artists have remained in contact, and the video, in which they discussed their work, was viewed by over 200. We agreed on a flat fee of $2,000.
​
Unfortunately, my landlord, Visa, ConEd, and others do not accept artwork for payment. So, I don’t. However, on a couple of small projects with artists that I’ve known for years and love their work, I have accepted artwork as payment.
​
Jonathan Goodman: When Scope first started in 2002, there were a handful of art fairs. There were over 350 fairs last year, but recently, several cancellations or pauses have occurred for the upcoming season. Is the age of art fairs over, or is a correction in the overall art market that we are seeing now?
​
Robert Curcio: Fairs are here to stay; however, I think it’s mostly a correction in art fairs themselves, besides the overall market. The art market is hitting a plateau like in 2015, and numerous other times, with sales dropping, some galleries closing, and people questioning the quality of art rather than just the price tag.
​
Fair fatigue is real for both exhibitors and visitors. For an exhibitor, the costs and demands on time, staff, artists, and more are huge and exhausting. For art professionals and enthusiasts alike, a fair with 250 exhibitors is an all-day, daunting task. Also, many of the fairs today are cookie-cutter: layout, programming, exhibitors, and most of the art is similar. The location might change, but everything looks and feels like any other fair.
Claire McConaughy
Stumble Upon Me Under the Pink Weeds, 2023, oil on canvas, 16 x 12 inches
From the exhibit In It For The Long Haul, 2023
Jonathan Goodman: More and more, artists are moving to the mid-Hudson Valley and then as far north as Albany and even beyond. What are your thoughts regarding this partial exodus from our country's best-known art city? To further challenge the subject: Can good art come alive in smaller places, in which the milieu is constrained by a limited audience.
​
Robert Curcio: I think it’s great. The art can be good to fantastic, and sometimes not so good, just like here in the city. New venues are opening upstate, exhibiting the new artists, and those that have been there for decades. It's still a young art economy, and I doubt it will rival the city, but the collector base is solid and growing. I’m not sure about the audience; is it reaching beyond the transplanted art crowd to the locals? Good art can be made anywhere, especially if you don’t have to pay exorbitant studio rent.
​
Jonathan Goodman: What do you think of gallery sales at present? Can they sustain the increases in costs in the city? Do the smaller galleries sell at all?
Robert Curcio: Recently, I was at a gallery with a wonderful exhibit by a mid-career artist. There were 15 or so works with a range of $10,000 to $30,000. At least half, if not more, of the exhibit was sold. That’s not bad in any economy for any size gallery. The question is, can they sustain that level of sales month-to-month? That’s difficult for a small, even mid-sized gallery to do.
​
The city is a tough place to do business, regardless of size or type of business. More than the city costs, it’s the costs in the art world/business that galleries, especially small ones, need to be concerned about. They don’t need to participate in fairs all over the world; just applying is expensive. You don’t need to have three locations in the same city or internationally. Sell to everyone, whether it’s a walk-in or an online auction, instead of only to major collectors and institutions. Develop multiple revenue streams rather than relying on the same ones continually. Get a business manager and pay your artists.
Jonathan Goodman: What about the museums? Has the turn to populism in public spaces resulted in a greater knowledge of culture and art? Or is our interest in broad themes an important stratagem in the increase of a museum audience?
​
Robert Curcio: I think, overall, museums have done a great job at bringing more and more diverse audiences to museums while providing a greater understanding of art and culture through blockbuster exhibitions. If a popular exhibit or artist brings people into a museum, then maybe they will look at other exhibits and artists to gain a broader understanding of art.
​
Then again, recently, I was at MoMA and overheard a visitor say, “What’s that? I could do that!” while looking at Kazimir Malevich’s work. So maybe not much has changed.
​
​
Jonathan Goodman: When you made the switch from art making to business, you made curating a main focus. How and why do you curate? Tell us about a few of your recent curatorial projects.
​
Robert Curcio: Curating is one of the things that makes life and the art world/business worthwhile. The inspiration to curate comes from different directions; something happens in my life, or I see a connection between two artists, then a theme begins to form. I try to mix things up by having artists of all ages, career levels, backgrounds, media, genders, and everything else. Group exhibits should be open-ended so the viewer leaves thinking and asking questions, while a solo exhibit should be more of a statement. Besides curating an exhibit, I enjoy/want to organize events, get a special wine sponsor, write the release, layout and install the exhibit, consider lighting and foot traffic, organize shipping, make sales, and other aspects of an exhibit. Most venues appreciate my “hands-on” approach, others not so much.
​
I was very excited to work with Donald Kuspit on Mortality: A Survey of Contemporary Death Art. A great exhibit, but bad irony, the exhibit and Covid happened at the same time, so no physical exhibit, but a wonderful catalog. Presence, 2021, was a collaboration with Priska Juschka at Lichtundfire, focusing on the figure and our need for connection. A mid-career survey entitled In It For The Long Haul, 2023, featuring 57 international artists that I have worked with, exhibited, or known for years, including Chakia Booker, Neil Jenney, Simen Johan, Walter Robinson, and Terry Rodgers. There’s Intimate Connections, focusing on our brain, the cosmos, and connections together, which I’m looking for a venue.
​
Jonathan Goodman: What can businesses do for a constrained art world? Can it be used for purposes beyond profit, or is such a motive directly in opposition to the basics of money-making?
​
Robert Curcio: Businesses can do great things for the art world and artists. However, it’s a double-sided blade. Businesses discovered that by supporting the arts, they can get the public to support them until all their dirty secrets come out - BP’s 30-year-long support of the British National Portrait Gallery, or the Sackler family's support of museums.
​
For artists, the amount of access and support provided by businesses seems to be a win-win for all. Polaroid Corporation’s Artist Support Program provided film and cameras to Andy Warhol, Robert Rauschenberg, Lucas Samaras, and others. In 1967, Bell Labs launched The Experiments in Art and Technology (EAT), bringing artists and engineers together. Xerox had artists-in-residence at some of its campuses, trying out the latest technology. If all these programs are continuing today, then it’s a strong testament to art and business working together.
​
Jonathan Goodman: Please advise the artist reader of this interview how to proceed in a context in which money itself has become a visual theme in art--think of Warhol's career. Does politicizing the role of business advance or slow down the value of an art world dependent on the wallet?
Robert Curcio: An artist interested in money as a visual theme in their work while critiquing the value of money in the art world– go for it! Just don’t make it derivative of Warhol’s Dollar Sign works, Cattelan’s Comedian, or Banksy’s self-destructing painting, because it will be seen as imitative and not worth the price. I think this is a good thing that artists provide commentary and some rebellion at their own creations, the art world, and the astronomical prices collectors are willing to pay.
​
There is no such thing as “slowing down” the value of art or business in the art world. The power of the wallet in art stretches back to the Renaissance and earlier and will continue for the foreseeable future. That wallet provides the globalization of the art world, bringing artists, galleries, museums, fairs, and other art ventures from India to the Middle East to Africa to the attention of the world.