The Middle East art scene is growing fast. That growth brings real opportunities, and it also attracts business models that profit from artists more than from collectors.

One of the most common is the pay to play or vanity gallery model. In simple terms, the gallery charges artists upfront to exhibit, then often delivers little more than wall space and vague promises of exposure. Many artists end up paying significant fees for exhibitions with weak marketing, low visitor quality, and no serious collector outreach.

This article is intentionally non sensational. Some paid exhibition formats can be legitimate. The point is to help you separate real value from expensive noise, especially when you receive flattering offers from “galleries” in Dubai, Abu Dhabi, Doha, Riyadh, Jeddah, or elsewhere in the region.

A quick definition: pay to play vs a commercial gallery

A traditional commercial gallery earns primarily from sales and takes a commission. A pay to play gallery earns primarily from artist fees. That incentive shift matters because it changes what the gallery is motivated to do.

There are also mixed models. Some art fairs charge booth fees, and some event formats use participation fees transparently. The ethical question is whether you are clearly told what you get, and whether the organiser has real capacity to deliver audience and sales support.

Why this is especially common in the Middle East right now

In fast growing markets, new venues, pop ups, and “art lounges” appear quickly. Some are genuinely building community. Others rely on a constant flow of new artists who pay once, feel disappointed, and leave.

If you are an artist entering the Gulf market, the risk is not only financial. A low quality show can waste your time, distract you from better opportunities, and sometimes even damage your positioning if the context feels uncurated or unprofessional.

The clearest red flags to watch for

1) They approached you with heavy flattery and urgency

Many vanity style offers follow a script: exaggerated praise, a “limited slot,” and pressure to pay quickly. That pattern is repeatedly flagged by artist support organisations and scam awareness guides.

2) The fee is large, but the deliverables are vague

If you cannot clearly list what you receive for the fee, assume you are paying for a wall. Demand specifics:

• marketing deliverables (how many posts, which channels, which budget)

• collector outreach plan (who is invited and how)

• PR commitments (press list, media partners, press release distribution)

• documentation (professional install photos, video, interviews)

A legitimate offer can describe deliverables without hiding behind “exposure.”

3) No track record you can verify outside their own channels

Before paying, look for proof that is not controlled by them:

• independent press coverage

• credible partners

• consistent visitor documentation across multiple exhibitions

• public events with recognisable speakers, institutions, or brands

If all evidence lives only on their Instagram, be cautious.

4) They cannot connect you with past artists quickly

A practical rule: ask to speak with three or four artists who exhibited recently and privately ask if it was worth it. This is widely recommended by artists and advisors who have analysed vanity gallery models.

If the gallery refuses or delays, treat that as a signal.

5) No proper contract, no inventory sheet, unclear insurance

If you are handing over works, you need:

• written contract

• inventory and condition report

• insurance clarity

• payment terms and timelines

Your own Art Fair Guy playbook already flags this as a major issue in the region, especially when “promotion fees” are involved.

6) They avoid talking about buyers and sales process

Ask very directly:

• Who processes sales, the gallery or the artist?

• Do you issue invoices? Who collects payment?

• When do you get paid after a sale?

• What commission do they take and what does it cover?

If answers are vague, the model is often not sales driven.

7) The location sounds impressive but is functionally invisible

In the Middle East, being “in Dubai” means nothing if it is far from real art footfall. Ask for:

• the exact address

• nearby anchors (districts, institutions, recurring events)

• evidence of consistent visitor flow for art audiences

When paying a fee can actually make sense

Not every paid opportunity is predatory. Here are examples that can be valid if transparent:

• Artist run cooperatives where costs are shared and governance is clear

• Juried exhibitions with modest admin fees and reputable jurors

• Art fairs where you pay a booth fee but the organiser provides real marketing, footfall, and professional infrastructure

• Rental studios or project spaces that clearly market themselves as rental, not representation

The key test is incentive alignment. Are they earning from sales and reputation, or mainly from artist payments?

The Middle East due diligence checklist

Before you pay anything, run this quick process:

1. Verify the venue on Google Maps and check whether it is known for cultural footfall

2. Check their programme history for at least 12 months of consistent exhibitions

3. Look for third party proof: press, partnerships, credible community references

4. Ask for past artist references and speak to them privately

5. Request the contract and deliverables in writing before paying any deposit

6. Ask how collector outreach works and request an example invitation and guest strategy

If any step fails, it does not automatically mean it is a scam. It often means it is not worth your budget.

What to do with that budget instead

If an offer asks for a large upfront payment, compare it to alternatives that reliably build your career:

• professional documentation and a strong website portfolio

• targeted travel to a credible art fair week for networking

• applying to juried opportunities with reputable partners

• building collector follow up systems and email lists

• working with a consultant to create a Middle East market entry plan

A soft note for organisers

If you run a paid exhibition space in the region, the ethical version is simple: be transparent, publish deliverables, curate properly, document outcomes, and show how artists benefit beyond one weekend.

Ask us!

If you receive a pay to play offer and you are unsure, we can help you evaluate it in a structured way. In one consultancy call, we can assess the contract, the real value, and your best alternative route in the GCC and wider MENA. If the offer is low value, we will tell you directly and show you what to pursue instead. Contact us at office@theartfairguy.com

FAQ

Are pay to play galleries always scams?

Not always. Some are simply rental spaces. The risk is when they present themselves as representation or sales driven while primarily earning from artist fees.

What is the biggest red flag in the Middle East context?

Large upfront fees with vague deliverables, no verifiable visitor quality, and no ability to connect you with past artists.

Should I ever pay to be shown in Dubai or Doha?

Only if you can verify real value: professional deliverables, credible footfall, and clear contracts. Otherwise, invest that money in market entry strategy and quality exposure channels.

How can I verify whether a gallery brings collectors?

Ask for examples of collector programming, opening guest strategy, sales reporting process, and speak to past exhibitors privately.

What should be in a safe exhibition agreement?

At minimum: deliverables, duration, commission, sales handling, payment timelines, insurance, inventory list, and image usage terms.