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Organising and Managing Fine Arts Exhibitions: A Strategic Approach

Roselen Halder ORCID: https://orcid.org/0009-0008-0447-164X Muksud Bin Wazed ORCID: Nadera Anjum Binti ORCID: Sonia Akter ORCID: Department of Drawing & Painting Faculty of Fine & Performing Arts Shanto-Mariam University of Creative Technology Dhaka, Bangladesh

Prof. Dr Kazi Abdul Mannan Department of Business Administration Faculty of Business Shanto-Mariam University of Creative Technology Dhaka, Bangladesh Email: drkaziabdulmannan@gmail.com ORCID: https://orcid.org/0000-0002-7123-132X   Corresponding author: Roselen Halder:  roselen.yb87@gmail.com

Int. Res. J. Bus. Soc. Sci. 2026, 12(1); https://doi.org/10.64907/xkmf.v12i1.irjbss.6

Submission received: 1 November 2025 / Revised: 9 December 2025 / Accepted: 25 December 2025 / Published: 2 January 2026

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Abstract

This paper presents a comprehensive, strategic framework for organising and managing fine arts exhibitions. Drawing on museum studies, experience economy, and participatory design literatures, it synthesises theory and practice to propose a model that integrates curatorial vision, audience engagement, resource management, marketing, and evaluation. The study uses a qualitative methodology combining semi-structured interviews with curators and exhibition managers, document analysis of exhibition plans and evaluations, and thematic analysis to identify recurrent challenges and best practices. Findings reveal five strategic domains that drive successful exhibitions: clear curatorial and interpretive strategy, audience-centred experience design,  integrated project management and cross-functional coordination,  adaptive marketing and revenue strategies, and iterative evaluation and learning. The paper concludes with practical recommendations for practitioners and implications for future research, advocating for reflexive, collaborative, and data-informed approaches to exhibition practice.

Keywords: fine arts exhibition, curatorial strategy, audience engagement, exhibition management, thematic analysis.

1. Introduction

Fine arts exhibitions are complex socio-technical undertakings that sit at the intersection of culture, education, commerce, and public engagement. They are temporary assemblages of objects, spaces, narratives, and people that together create meaning for diverse publics (Falk & Dierking, 1992). The task of organising and managing such exhibitions involves coordinating artistic vision, logistics, conservation, interpretation, audience development, marketing, funding, and evaluation. Given rising expectations for visitor experience, pressure on institutional budgets, and rapidly changing technologies and public behaviours, exhibition practitioners require robust strategic approaches to design, implement, and sustain impactful exhibitions.

This paper addresses the question: How can organisers and managers of fine arts exhibitions adopt a strategic approach that balances artistic integrity, visitor experience, operational feasibility, and institutional sustainability? We argue that strategic exhibition management must be multi-dimensional: centred on curatorial clarity, grounded in audience insight, executed through disciplined project management, amplified by integrated marketing and revenue strategies, and improved through systematic evaluation. To substantiate this argument, we combine a literature-based synthesis with qualitative empirical data drawn from practitioners and exhibition records.

The rest of the paper is organised as follows. Section 2 reviews relevant literature and situates the inquiry within theoretical traditions such as the museum experience model, the experience economy, and participatory museum practice. Section 3 develops a theoretical framework for strategic exhibition organisation. Section 4 outlines the qualitative research methodology. Section 5 presents findings derived from interviews and document analysis. Section 6 discusses the findings in relation to the theoretical framework and prior research. Section 7 offers practical implications and recommendations. Finally, Section 8 concludes with future research directions.

2. Literature review

A review of scholarship from museum studies, visitor studies, and cultural management reveals recurring themes relevant to exhibition strategy.

2.1 The museum experience and visitor-centred practice

Falk and Dierking’s (1992) seminal work, The Museum Experience, emphasised that visitors construct meaning from museum visits through the interaction of their personal context, social context, and the physical/interpretive context of the museum. This constructivist view shifted attention from object-centred to visitor-centred practice and underlies contemporary emphasis on designing exhibitions as experiences tailored to audience segments.

2.2 Learning, interpretation, and meaning-making

George E. Hein (1998) advanced a theory of learning in museums that connected constructivist pedagogy to the role of interpretation. According to Hein, effective exhibitions provide multiple entry points for visitors, scaffolding knowledge while respecting varying learning styles. Interpretive planning—developing clear learning goals, messages, and media choices—is essential to aligning curatorial intent with visitor outcomes.

2.3 The experience economy and staging cultural experiences

Pine and Gilmore’s (1999) The Experience Economy argues that organisations should design staged experiences to create memorable value for customers. In the museum context, exhibitions can be conceptualised as staged environments where attention to sensory, emotional, and participatory dimensions enhances engagement and increases perceived value.

2.4 Participatory approaches and co-creation

Recent scholarship encourages participatory and co-creative approaches to exhibitions (Simon, 2010). The participatory museum model foregrounds community engagement, user-generated content, and collaborative programming. This orientation has practical implications for strategic planning—it necessitates inclusive governance, flexible budgets, and mechanisms for managing contributions while safeguarding curatorial standards.

2.5 Management, marketing, and sustainability

Research in museum management and marketing underscores the importance of integrating operational planning with market-oriented strategies (McLean, 1993; Alexander & Alexander, 2008). Exhibitions must be managed as projects with clear timelines, budgets, and risk mitigation plans. Marketing and audience development strategies are crucial for attendance, revenue generation, and long-term institutional viability.

2.6 Evaluation and evidence-based practice

Evaluation literature emphasises iterative assessment of exhibitions through formative and summative methods (Hooper-Greenhill, 1992). Evidence-based evaluation provides feedback for improving interpretive strategies, access, and visitor services. Qualitative and mixed methods approaches are commonly used to capture visitor meanings beyond numeric attendance figures.

The reviewed literature suggests a need for integrative frameworks that treat exhibitions both as cultural artefacts and as strategic projects. The next section synthesises these strands into a theoretical framework for strategic exhibition organisation.

3. Theoretical framework

This study proposes a multi-dimensional strategic framework for organising and managing fine arts exhibitions. The framework synthesises insights from constructivist learning theory, the experience economy, participatory design, and project management. It comprises five interrelated domains:

Curatorial and Interpretive Strategy — Defines the exhibition’s intellectual and aesthetic core: theme, narrative arc, selection criteria, and intended messages. Grounded in curatorial research and ethical stewardship, this domain establishes the exhibition’s raison d’être and learning objectives (Hein, 1998; Lord & Lord, 2002).

Audience-Centred Experience Design — Focuses on designing visitor journeys that consider demographics, motivations, accessibility, and desired experiences. It includes spatial design, interpretive media, programming, and multisensory elements to shape engagement (Falk & Dierking, 1992; Pine & Gilmore, 1999).

Integrated Project Management — Applies disciplined project management practices—scope definition, timelines, budget control, risk management, conservation/legal compliance, and cross-functional coordination among curatorial, conservation, education, operations, and marketing teams (Alexander & Alexander, 2008).

Marketing, Partnerships, and Revenue Strategies — Encompasses audience development, branding, earned income (ticketing, retail, licensing), philanthropic support, sponsorship, and partnerships with cultural and commercial stakeholders. This domain acknowledges market realities while protecting artistic integrity (McLean, 1993).

Evaluation, Learning, and Adaptive Governance — Uses formative and summative evaluation to measure outcomes related to learning, satisfaction, access, and financial performance; findings feed back into governance and subsequent exhibition cycles (Hooper-Greenhill, 1992).

These domains are interactive rather than linear. Strategic choices in one area (e.g., ambitious international loans) affect others (e.g., budget, conservation demands, marketing potential). The framework also recognises external contextual factors—funding climate, political environment, and technological trends—that shape feasible strategies. The research reported below uses this framework to structure inquiry into practitioner perspectives and documentary evidence.

4. Research methodology

A qualitative research design was selected to explore the strategic dimensions of exhibition organisation, privileging depth of understanding over generalizability (Creswell, 2013). The study combined semi-structured interviews, document analysis, and thematic analysis to identify patterns across cases.

4.1 Research questions

• How do practitioners conceptualise strategic decision-making in organising fine arts exhibitions?
• What practices and tools do exhibition teams use to align curatorial intent, visitor experience, and operational feasibility?
• What challenges and trade-offs do practitioners report, and what strategies do they employ to address them?

4.2 Case selection and sampling

Purposeful sampling was used to select six institutions known for recent fine arts exhibitions (a mix of public museums, university galleries, and independent contemporary art spaces). Cases were chosen for variation in size, funding model, and audience reach to capture diverse strategic approaches. Institutional identifiers are anonymised to protect confidentiality.

4.3 Data collection

Data sources included:

Semi-structured interviews (n = 18): Interviews with curators (n = 7), exhibition managers (n = 6), heads of learning/education (n = 3), and marketing managers (n = 2). Interviews lasted 45–75 minutes and followed an interview guide covering planning processes, stakeholder coordination, marketing strategies, risk management, and evaluation practices.

Document analysis: Exhibition planning documents, budgets, interpretive plans, risk assessments, and post-exhibition evaluation reports (where available) were analysed for content related to strategy and management practices.

Observational notes: Visits to three exhibitions provided contextual understanding of visitor flow and interpretive media usage.

All interviews were recorded and transcribed with participant consent. Ethical clearance was secured, and participants agreed to anonymised reporting.

4.4 Data analysis

Thematic analysis following Braun and Clarke (2006) was used. Transcripts and documents were coded iteratively: initial open coding generated descriptive codes, which were grouped into themes corresponding to the five framework domains and emergent subthemes. Constant comparison across cases identified recurring patterns and notable divergences. Reflexive memos documented analytic decisions.

4.5 Trustworthiness

Credibility was established through triangulation of interviews, documents, and observations. Member checking was conducted informally by sharing synthesised themes with a subset of participants for feedback. An audit trail of coding and analytic memos supported dependability.

5. Findings

Analysis yielded five major thematic clusters aligned with the theoretical framework. Each cluster includes subthemes and exemplar practitioner insights.

5.1 Curatorial and interpretive strategy

5.1.1 Articulating clear intellectual intent

Practitioners emphasised that exhibitions must begin with a clearly articulated intellectual intent: an argument or question that gives coherence to object selection and interpretive choices (Curator A). Successful exhibitions had concise “curatorial statements” and discrete learning objectives that guided downstream decisions.

5.1.2 Balancing scholarship and accessibility

Curators described tensions between scholarly rigour and public accessibility. One curator explained:

“We want to respect the artwork’s complexity, but if our labels read like journal articles, visitors disengage.” (Curator B).

Strategies included layered interpretation (short headlines with deeper digital content) and curator talks targeting specialist audiences.

5.1.3 Ethical stewardship and provenance concerns

Loan negotiations and acquisitions required attention to provenance and ethical considerations. Exhibition managers highlighted contingencies (e.g., delaying loans pending provenance verification) and integrating legal counsel early in planning.

5.2 Audience-centred experience design

5.2.1 Mapping visitor journeys

Exhibition teams used visitor journey maps to plan circulation, sightlines, and key interpretive nodes. These maps helped anticipate bottlenecks and design “belonging points” where visitors could pause, reflect, or interact.

5.2.2 Multimodal and inclusive interpretation

Education leads reported prioritising multimodal interpretation (text, audio, tactile replicas where possible, digital interactives) to accommodate diverse learning preferences and accessibility needs. Universal design principles were adopted to ensure disabled visitors.

5.2.3 Programming as experience extension

Complementary programming (workshops, performances, curator talks) was used strategically to deepen engagement and attract repeat visitation. Programs were sometimes co-created with community partners, enhancing relevance.

5.3 Integrated project management

5.3.1 Cross-functional governance structures

Exhibitions were managed through cross-functional steering groups with representatives from curatorial, conservation, education, operations, marketing, and finance. Regular checkpoints and a shared project timeline were critical to synchronisation.

5.3.2 Risk and contingency planning

Risk assessment—covering loans, transport, environmental control, and security—was a routine but resource-intensive practice. Several managers emphasised early engagement with lenders’ conditions and insurance brokers to avoid late surprises.

5.3.3 Budget discipline and staging choices

Budget constraints often required staging decisions—simplifying install, reusing existing display cases, or modifying loan scopes. Managers described creative compromises (e.g., rotating loaned works across exhibition phases) to reconcile aspiration with affordability.

5.4 Marketing, partnerships, and revenue strategies

5.4.1 Targeted audience segmentation

Marketing teams prioritised segmentation (local, tourist, families, schools, collectors) and tailored messaging across channels. Social media teasers and behind-the-scenes content were effective for building anticipation.

5.4.2 Partnerships and sponsorships

Institutional partnerships—local businesses, cultural organisations, and sponsors—were critical for funding, cross-promotion, and extending programmatic reach. One marketing manager noted:

“A good sponsor extends our audiences, not just our budget.”

5.4.3 Retail and earned income optimisation

Retail strategy (catalogues, editioned prints, merchandise) and ticketing models (pay-what-you-can vs. fixed pricing) were adjusted to institutional missions and market conditions. Revenue from retail and special events helped subsidise free public programs.

5.5 Evaluation, learning, and adaptive governance

5.5.1 Formative evaluation during development

Several teams used formative testing—pilot labels, prototype interactives, and small focus groups—to refine interpretive strategies. These formative insights prevented costly post-installation rework.

5.5.2 Summative evaluation and metrics beyond attendance

Post-exhibition evaluations combined quantitative metrics (attendance, revenue) with qualitative indicators (visitor learning, emotional responses). One curator remarked:

“Numbers tell us if people came; interviews tell us what they took away.”

5.5.3 Institutional learning and knowledge management

Teams sought to institutionalise lessons through “post-mortem” reports, shared templates, and cross-project databases for vendor contacts and risk precedents. Yet knowledge transfer remained uneven, especially in institutions with high staff turnover.

6. Discussion

Findings confirm and extend the theoretical framework, highlighting how strategic exhibition practice emerges from the interplay of curatorial intent, audience design, operational discipline, market orientation, and reflective evaluation.

6.1 Integrating curatorial vision with visitor experience

Curatorial clarity emerged as the anchor for strategic decisions—consistent with Hein’s (1998) emphasis on clear learning goals. However, the need to translate scholarly narratives into accessible visitor-facing messages required deliberate design work. Layered interpretation—combining succinct labels with deeper digital content—was a practical resolution echoing Falk and Dierking’s (1992) insights about personal meaning-making. The implication is that curators must be conversant in audience studies and participatory methods to shape content that resonates beyond the academy.

6.2 Experience design as a strategic differentiator

Treating exhibitions as staged experiences (Pine & Gilmore, 1999) helps institutions differentiate offerings in a crowded cultural marketplace. The study found that sensory and programmatic elements (lighting, sound, performance) can enhance memorability and foster emotional engagement. Yet, these elements incur operational complexity and cost. Strategic prioritisation—deciding which experiential elements are mission-critical versus optional—must be calculated according to audience data and institutional capacity.

6.3 Project management: governance and risk

The centrality of integrated project management aligns with Alexander and Alexander’s (2008) arguments for professionalised museum administration. Cross-functional governance mitigated siloed decision-making and enabled earlier detection of conflicts (e.g., conservation constraints vs. curatorial desires). Risk management was recurrently cited as a strategic necessity—particularly when dealing with high-value loans. Investing in robust project management pays off by reducing last-minute changes that can compromise interpretive quality or visitor safety.

6.4 Market orientation and ethical tensions

Marketing and revenue strategies were vital to institutional sustainability, but raised ethical tensions. Curators worried that market-driven programming could dilute artistic standards or prioritise blockbuster attractions over smaller, experimental shows. The literature advises a balanced approach: leveraging marketing expertise to expand access while maintaining curatorial autonomy (McLean, 1993). Partnerships and sponsorships were most effective when aligned with institutional values and when sponsors contributed to programmatic depth rather than merely underwriting costs.

6.5 Evaluation as learning infrastructure

Evaluation practices ranged from ad hoc attendance counts to sophisticated mixed-method assessments. The most effective teams used evaluation iteratively—testing prototypes, collecting visitor feedback, and feeding findings into future planning. This evidence-based orientation supports adaptive governance where exhibition teams can make data-informed trade-offs. Institutionalising evaluation, including knowledge management systems for lessons learned, remains an important capacity-building area.

6.6 Trade-offs and strategic decision rules

Across domains, practitioners used implicit decision rules to manage trade-offs. Examples include:

• Prioritise loans that materially contribute to the exhibition argument; otherwise, opt for high-quality reproductions.
• Invest in interpretive clarity rather than proliferating media formats.
• Stage costly, high-capital exhibition elements in partnership with sponsors or as part of touring cycles.
• Formalising such heuristics as part of strategic planning documents can increase transparency and consistency in decision-making.

7. Practical implications and recommendations

Based on the literature and empirical findings, the following recommendations are offered for practitioners planning and managing fine arts exhibitions.

7.1 Pre-planning and strategic articulation

Develop a concise curatorial brief: Before operational planning, produce a short document (1–2 pages) that articulates the exhibition’s central argument, target audiences, learning outcomes, and non-negotiables. This brief should guide all downstream decisions.

Conduct an early feasibility assessment: Evaluate loan availability, conservation requirements, staffing, spatial constraints, and preliminary budget to determine feasibility and inform scope.

7.2 Audience research and experience design

Segment audiences and tailor pathways: Use audience segmentation to design differentiated visitor paths and programming—family-friendly, specialist, community-focused—so each group finds meaningful entry points.

Prioritise accessibility and universal design: Incorporate accessibility (physical, sensory, cognitive) from the outset rather than as retrofits. Consult disability advisors in early design phases.

Prototype interpretive media: Use low-cost prototypes and micro-tests (pilot labels, mock-ups) with representative users to refine messaging and interaction flows.

7.3 Integrated project management and governance

Form a cross-functional steering group: Include representatives from all relevant departments; define roles, escalation paths, and decision-making authority.

Adopt a layered project plan: Maintain a master timeline plus phase-specific task lists (design, conservation, install, marketing), with regular milestone reviews.

Build contingency budgets: Allocate a contingency (recommended 10–15% for large shows) to manage unforeseen costs, particularly for loans and transport.

7.4 Marketing, partnerships, and revenue

• Align sponsorship with curatorial goals: Seek partners whose brand and values support the exhibition narrative and programmatic aims.
• Leverage digital storytelling: Use social media and behind-the-scenes content to build pre-opening interest and deepen post-visit engagement.
• Design retail and ticketing strategically: Integrate exhibition merchandise and pricing models to balance access and earned-income targets.

7.5 Evaluation and institutional learning

• Plan evaluation from the start: Include formative and summative evaluation objectives in the project plan, specifying methods, responsibilities, and metrics.
• Use mixed methods: Combine attendance and revenue metrics with qualitative interviews, observation, and visitor comment analysis to capture both reach and meaning.
• Create knowledge repositories: Store post-exhibition reports, vendor contacts, and risk assessments in shared institutional repositories to facilitate knowledge transfer.

8. Conclusion and future research

This paper advances a strategic framework for organising and managing fine arts exhibitions that balances curatorial integrity, audience experience, operational effectiveness, and financial sustainability. Empirical findings from interviews and document analysis reinforce the necessity of integrating curatorial vision with audience-centred design and disciplined project management. Marketing, partnerships, and rigorous evaluation are complementary levers that enable exhibitions to fulfil their mission while engaging diverse publics and sustaining institutional viability.

Future research could pursue several directions. First, comparative studies across cultural and national contexts would illuminate how funding regimes and cultural policies shape strategic choices. Second, longitudinal research tracking the lifecycle of exhibitions—from planning to post-mortem—would deepen understanding of learning processes and knowledge retention in institutions. Third, experimental studies could test the impact of specific interpretive strategies (e.g., layered labels, AR experiences) on learning and emotional engagement. Finally, the rise of digital and hybrid exhibitions presents rich grounds for investigating how institutions can strategically blend physical and virtual experiences to extend reach and accessibility.

In sum, exhibition-making is both an art and a management discipline. A strategic approach—grounded in research, reflexive practice, and collaborative governance—enables institutions to mount exhibitions that are intellectually rigorous, emotionally resonant, operationally sound, and publicly meaningful.

References

Alexander, E. P., & Alexander, M. (2008). Museums in Motion: An Introduction to the History and Functions of Museums (2nd ed.). AltaMira Press.

Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77–101.

Creswell, J. W. (2013). Qualitative Inquiry and Research Design: Choosing Among Five Approaches (3rd ed.). SAGE Publications.

Falk, J. H., & Dierking, L. D. (1992). The Museum Experience. Whalesback Books.

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Simon, N. (2010). The Participatory Museum. Museum 2.0.

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