ExhVerse (FlipHTML5)
Fast no-code 3D rooms, hotspots, audio, video, one-link share. Strong 2026 buzz for self-serve shows. Free plan: about 3 shows / 30 works each. Pro is cheap. Sales tools still basic.
Open ExhVerseExhibitions
Technology can hasten an artist's ascent when it serves the work. We build self-serve 3D galleries where makers hang rooms, share one link, and welcome visitors in the browser. Storytelling and empowerment remain the point.
Walk-through 3D rooms
Closest to a virtual exhibition. Pick by speed, audience, or sales tools.
Artsteps
Custom floor plans, education and indie shows. Huge public catalog of other people’s exhibitions. Free core. Looks a bit dated next to newer rooms, still wins for casual walk-in traffic.
Open ArtstepsKunstmatrix
Photoreal rooms, inventory, leads. What many commercial galleries use. Paid after trial. Steeper to set up.
Open KunstmatrixArtPlacer
Virtual rooms plus “see it on your wall” AR, collector viewing rooms, inventory. Built to turn a visit into a sale. Paid (~$20–30/mo). Caps on lower tiers.
Open ArtPlacerExhibbit
Simple in-browser 3D, inquiries, multiple live shows. Paid. Smaller work limits.
Open ExhibbitVortic
High-end viewing rooms (David Zwirner, Victoria Miro tier). Quote / gallery-level. Not for a first solo demo.
Open VorticMarketplaces with viewing rooms
Not “build your own museum.” Famous names if collectors should find the work.
Artsy
Gallery network, serious collectors. Artists usually arrive via a gallery, not by signing up alone.
ArtsySaatchi Art
Open to independent artists. 2D online viewing rooms. About 35–40% commission. Real buyer traffic.
Saatchi ArtSingulart / Artfinder
Curated, higher commission, more hand-holding.
SingulartMuseums and discovery
Google Arts & Culture remains the giant for institutions (2,000+ museums). You do not build a private branded room there; you enter their universe.
Spatial and OnCyber grow among digital / NFT / 3D-object artists. Overkill if the work is traditional paintings or works on paper.
Distribution
Orchid Way Collective treats distribution as a shared practice of care. Founders Gary and Susan LaDrido, together with the Collective network, act as caretakers: helping work become available, documented, and socially connected so exhibitions can do their work.
Distribution here is not louder posting. It is availability, documentation, and connection, practiced with restraint, so the work can meet the right rooms and the right eyes.
Lending
Works leave private storage when they are loaned with care. A careful loan places an object in public sight, in catalogues, and in shared conversation among institutions and visitors.
Documentation
Clear provenance, condition records, and high-resolution images make work legible to museums and galleries. Exhibition history travels with the object as scholarship, not as marketing copy.
Trust
Quiet introductions matter more than campaigns. Networks open doors when they rest on genuine fit among artist, venue, and audience.
Restraint
Distribution succeeds when the exhibition remains the story. Availability and professionalism outweigh noise; the work, not the promoter, stays in view.