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This thesis investigates the trajectory of Spanish painter Esteban Vicente (1903–2001) to explore the tension between structural constraints and individual agency in the Postwar American art market. While traditional art history often frames the Abstract Expressionist canon as a meritocratic evolution of style, this study utilizes the sociological frameworks of Harrison and Cynthia White’s "dealer-critic system" to argue that Vicente’s marginalization was a structural inevitability rather than an artistic failure.

The research proceeds in three acts. First, it maps the "Dealer-Critic" machinery of the New York School, analyzing how dealers, critics, and Cold War politics constructed a rigid national narrative that merged "American" identity with artistic validity. Second, it traces Vicente’s exercise of agency within this structural landscape, arguing that his refusal to perform the "action painter" persona or assimilate his Spanish heritage into the dominant American mythos made him institutionally illegible.

Finally, it analyzes the economic consequences of these negotiations, contrasting the "administrative pricing" that contained his value during his lifetime with the explosive market revaluation that occurred posthumously. The recent surge in Vicente’s auction prices, driven by a strategic rebranding of his work through a "Spanish" and "Pastoral" lens, demonstrates that artistic legitimacy in the contemporary U.S. market is not determined by merit alone, but constructed through the interaction of identity politics, institutional framing, and market valuation.

As the art and design culture has grown among contemporary culture, modern participation in art culture has significantly increased among the contemporary audience. Interdisciplinary spaces integrating exhibition, retail, dining, and landscape design have become increasingly influential in shaping contemporary cultural consumption. Hybrid cultural–commercial spaces are rapidly reshaping how audiences experience art and lifestyle consumption. As interdisciplinary models gain prominence across creative industries, research has not kept pace. This study investigates the emergence of hybrid cultural–commercial institutions in (Part 1) a case study on the Luo Hong Art Museum and (Part 2) a business plan for Studio 88 Gallery. As there appears to be limited research on existing business models on such hybrid spaces, the case study analyses the Luo Hong Art Museum's interdisciplinary model—integrating exhibition, patisserie, and garden—to understand its experiential architecture, market reception, and strategic evolution. With the valuable insights from the case study, Part 2 contains Studio 88 Gallery's business plan, detailing its hybrid gallery–café–nightlife model, spatial design, operations, and financial strategy.

This thesis consists of a case study (Part 1) and a business plan (Part 2), examining the structural marginalization of religious art and sacred arts within the contemporary art market. The case study analyzes how secular critical norms, limited audience bases, fragile funding models, and the dominance of commercial aesthetics collectively undermine the visibility and long-term viability of spiritually grounded art institutions. Although religious and sacred art possess significant cultural, philosophical, and spiritual value, they remain disadvantaged within a profit-driven art ecosystem.To address these systemic challenges, the business plan proposes a development model for Three Mountains Gallery in partnership with the Taoist Association of New York, positioning Intangible Cultural Heritage (ICH) as the central strategy for cultural engagement and community formation. As contemporary audiences increasingly seek emotionally resonant, contemplative, and spiritually oriented art experiences, ICH provides an accessible entry point for broadening participation. Through collaborations with ICH artists and related cultural programming, the project aims to cultivate a stable cultural community and establish diversified revenue streams, ultimately creating a sustainable framework through which religious and sacred art can regain relevance and agency within the broader cultural landscape.

In the early twentieth century, women's presence in the art world—as artists, dealers, collectors, and scholars—was shaped by persistent barriers to entry. Legal restrictions, social expectations tied to class and wealth, and institutional exclusions from training and recognition meant that women often navigated indirect or unconventional paths to participate in artistic and commercial networks. An examination of the career of Marie Nordlinger-Riefstahl (1876-1961) illustrates both the opportunities and constraints—legal, social, financial, cultural, and terminological—that shaped women's entry into the art market and contributed to their obscurity in later histories. This study situates Marie Nordlinger-Riefstahl's professional contributions within the early twentieth-century art market, tracing her involvement in artistic training, commercial exchange, and collector networks across the transatlantic sphere, including England, France, Germany, and the United States. Drawing on archival research, biographical reconstruction, and sociological approaches to professional networks, it examines how her work intersected with dealers, collectors, and institutions while remaining unevenly documented within the historical record. Although aspects of her life and career remain unresolved, the analysis restores attention to a figure whose trajectory illuminates broader dynamics of gender, visibility, and omission in art-market history.The aim of this study is to contribute to ongoing scholarship on the marginalization of women's professional labor in art-historical and art market narratives. While Nordlinger-Riefstahl warrants examination as an individual historical actor, her case also raises critical questions about how expertise, mediation, and authorship were recorded—and obscured—within the art market. Her recovery not only repositions an overlooked figure but also has implications for provenance research, museum practice, and the study of professional networks.

This paper investigates how sound art operated as a politically charged medium during the Arab Spring and traces the following reception and absorption of Middle Eastern and North African (MENA) sound artists within North American institutional and commercial frameworks. While sound art has long existed on the periphery of the global art market, the Arab Spring stressed its role as a tool for political expression and collective mobilization. The paper argues that the heightened visibility of MENA sound practices in this period catalyzed a shift in how North American museums, galleries, and art fairs engaged with the medium, transforming politically urgent and regional works into exhibitions of curatorial display and market circulation. Utilizing artist Tarek Atoui as a case study and other less extensive examples by situating their trajectories within broader patterns of post-9/11 orientalism, migration, and cultural diplomacy, this research interrogates the tensions between political intent and institutional appropriation. In doing so, it reframes the narrative of sound art not as a universal avant-garde, but as a transnational medium channeled by geopolitical conflict, diaspora, and the infrastructures of the art market.

The contemporary art market in India remains a niche field today. It is primarily dominated by UHNWI and HNWI collectors, whose financial capacity aligns with the prevailing pricing structures of the market, making it highly exclusive. Due to this, even though the country possesses a deep and diverse artistic lineage, two major gaps persist in the structure of its art market. First, new generations, such as Gen Z, remain distant from contemporary art of India due to lack of affordability and cultural familiarity. Second, emerging artists struggle to find platforms that allow genuine creative freedom. These structural barriers prevent broader engagement and restrict the development of an inclusive and diverse art ecosystem. To fulfil these gaps, this thesis first presents a case study on Nature Morte, examining it as a model of resilience and success in India's contemporary art sphere. Nature Morte is a gallery that introduced experimental, conceptual, and unconventional practices of art into the country at a time when no clear market for such work existed, and it continues to do so today. Through long-term consistency, curatorial risk-taking, and strategic adaptability, Nature Morte expanded the scope of contemporary art in India, and maintained a balance between cultural value and business viability. Its trajectory illustrates how an art initiative can thrive by shaping rather than following market expectations. Building upon these insights, the second part of this thesis proposes a business plan for a venture called "Age of Aesthetics," that acts as a solution to the current, identified gaps in the Indian art market. The model offers original graphic art prints inspired by iconic, Indian modern masters and reinterpreted through Gen Z aesthetics. In other words, the brand combines what is working well in the Indian market with what is missing in it. It does so by making contemporary art in India accessible, affordable, aspirational, and relatable to new audiences. By supporting emerging artists and appealing to emerging collectors through design-forward, digital storytelling, the plan aims to cultivate a new entry point into India's art ecosystem, with the creation of an alternative market for contemporary art in India that democratizes inclusivity. Together, the case study and business plan work in dialogue: the first analyzes how a gallery successfully expanded India's contemporary art discourse, and the other proposes how the next wave of participation – rooted in digital culture, affordability, and contemporary aesthetics, can widen that discourse even further. Ultimately, this thesis argues that what is missing in contemporary art in India today is not creativity, but accessibility and connection. It overcomes this challenge by strategizing to reconnect younger generations with their cultural roots, while opening gates to endless creative and commercial possibilities in the Indian art market.

This thesis conceptualizes art-centered adaptive reuse as a cultural and institutional strategy and examines how abandoned architecture can be reinterpreted as socially and symbolically meaningful artistic space. While vacant buildings in urban environments are often perceived as indicators of decline, they reveal deeper tensions generated by competing forces of economic development, cultural preservation, and the erosion of community relations. To address these issues, the study theorizes artistic adaptive reuse not as a form of physical restoration, but as a cultural practice that reconstructs urban memory and identity.The transformation of the former Seoul Station—originally a colonial-era railway terminal—into Culture Station Seoul 284 serves as the central case study. By analyzing its architectural preservation, curatorial programming, and administrative governance, the research investigates how the site was reconfigured into a state-supported cultural institution. A comparative analysis with Tate Modern, Musée d'Orsay, and MoMA PS1 further situates the Korean model within international frameworks of cultural repurposing, illuminating both its distinctive characteristics and its institutional limitations.Building upon these analyses, the thesis proposes Re:Ground, an arts-based urban regeneration consultancy. Re:Ground offers a practical framework—structured across the stages of diagnosis, design, implementation, and evaluation—that enables underutilized spaces to transition into sustainable cultural infrastructure. By translating the study's theoretical insights into a viable operational model, the project demonstrates that arts-based adaptive reuse extends beyond architectural transformation and functions as a sustainable process that reshapes cultural value, community relations, and institutional structures in contemporary cities.

This thesis argues that the language of universality in major cultural institutions is not a neutral ideal but an administrative artifact, produced through the management of art rather than through its meanings. Focusing on the United Nations Art Collection in New York and Documenta in Kassel, the study examines how postwar political authority is staged through artworks that appear to represent global consensus, while in fact materializing systems of visibility, protocol, funding, and bureaucratic control.At the United Nations, artworks do not enter through curatorial selection but through diplomatic gifting. Their acceptance, placement, and conservation are governed by the Protocol and Liaison Service, revealing that symbolic value hinges more on geopolitical appropriateness than aesthetic evaluation. Works such as the Guernica tapestry, Chagall's Peace Window, and Portinari's War and Peace demonstrate how art can be ritualized, censored, sanctified, or foregrounded as international identity. Here, neutrality is not expressed by art but performed through its management.Documenta, by contrast, cultivates the ideal of artistic freedom through rotating curatorial authorship. Yet that freedom is administratively granted by the German state and subject to oversight, budgetary discipline, and political intervention. The controversies surrounding Documenta 14 and 15 show that collective curating, decolonial critique, and redistributed authorship remain tolerable only within the limits of state governance. When autonomy exceeds those limits, it is reclassified as failure and reabsorbed through reform.Read together, these institutions reveal that art does not merely symbolize universality, it produces it as a fragile performance. Universality becomes a curatorial achievement, sustained by procedure, visibility, and the constant negotiation between global aspiration and political constraint.

This paper examines the transformative influence of digital technologies on contemporary curatorial practices by exploring their integration across key domains of museum operations. Chapter I traces the historical evolution of museums alongside technological advancements, offering a foundation for understanding the shift from traditional preservation methods to dynamic, audience-centered approaches. Chapter II focuses on Augmented Reality (AR), investigating its capacity to overlay digital content onto physical exhibitions, thereby enhancing storytelling and fostering interactive learning. Chapter III delves into Virtual Reality (VR), highlighting its ability to create immersive and boundaryless exhibitions, Chapter IV explores Artificial Intelligence (AI) as a tool for curatorial analysis, thematic development, and visitor engagement, while addressing ethical and practical challenges, such as diminished curatorial visibility in AI-driven projects. Through case studies and critical analysis, this thesis evaluates how AR, VR, and AI not only enrich exhibition design and accessibility but also reshape the roles of museums and curators. By addressing these dynamics, this study underscores the balance required between technological innovation and curatorial expertise to ensure museums remain inclusive, culturally significant spaces in a digital age.

This paper examines the transformative influence of digital technologies on contemporary curatorial practices by exploring their integration across key domains of museum operations. Chapter I traces the historical evolution of museums alongside technological advancements, offering a foundation for understanding the shift from traditional preservation methods to dynamic, audience-centered approaches. Chapter II focuses on Augmented Reality (AR), investigating its capacity to overlay digital content onto physical exhibitions, thereby enhancing storytelling and fostering interactive learning. Chapter III delves into Virtual Reality (VR), highlighting its ability to create immersive and boundaryless exhibitions, Chapter IV explores Artificial Intelligence (AI) as a tool for curatorial analysis, thematic development, and visitor engagement, while addressing ethical and practical challenges, such as diminished curatorial visibility in AI-driven projects. Through case studies and critical analysis, this thesis evaluates how AR, VR, and AI not only enrich exhibition design and accessibility but also reshape the roles of museums and curators. By addressing these dynamics, this study underscores the balance required between technological innovation and curatorial expertise to ensure museums remain inclusive, culturally significant spaces in a digital age.

It Was Never About the Car…Racing has always been at the core of car culture, shaping not only technological innovation but also society's evolving taste in automobiles. From the Paris-Rouen Trial of 1874, where early motorized vehicles competed to prove their reliability, to today's Formula 1 spectacles, racing has driven both mechanical advancements and emotional connections. These events set the stage for cars to become cultural icons, reflecting desires that extend far beyond their functional purpose. Over the decades, societal tastes have been shaped by a blend of media, advertising, and the thrill of racing. Classic films like Bullitt (1968) and The Fast and the Furious franchise ignited fascination with high-performance vehicles, while shows like Knight Rider and Pimp My Ride celebrated customization and personality. Advertisements from brands like Jaguar and Chevrolet, emphasizing speed, freedom, and luxury, turned cars into symbols of aspiration and identity. Cars came to represent much more than transportation—they became mirrors of status and self-expression as well as evolving cultural norms.

The evolution and continuation of graffiti as an art form in New York City reveals a remarkable transformation from an act of rebellion to a recognized and lucrative art form. As graffiti progressed the motives and goals of the artists changed. What was once an act of defiance which produced a sort of high for these artists turned into lifelong and profitable careers. Through the exploration of the key moments in graffiti's history, such as the formation of the United Graffiti Artists collective (UGA) , the first gallery exhibitions and the rise of graffiti in auctions, illustrates the dynamic nature of the graffiti community and its capacity to adapt to changing cultural landscapes. Furthermore, the legal recognition of graffiti as a protected art form, exemplified by the 5Pointz case, has further solidified its legitimacy. Early taggers have evolved into established artists, collectors, and influential figures in the art world, driving up the market value of graffiti art. Museum exhibitions, auctions, and media attention highlight the shift of graffiti as an accepted form of art. The longevity of graffiti can be attributed to the artists' ability to pivot and mature while maintaining the core principles of "art by the people, for the people". Overall, the journey of graffiti from an ephemeral street practice to a lasting and valued form of artistic expression is due in part to the dedication of the graffiti community and its supporters.

This thesis concerns the relationship between deficient art market performance despite institutional support of artists of the Feminist Art Movement of the 1970s, using the careers of Judy Chicago, Miriam Schapiro, and Faith Ringgold as case studies. Despite the relatively different approaches of all three artists, themes of non-collectability due to medium, scarce inventory, and overall sexism in the industry have emerged. Research consists of firstly exploring the historical context of the Feminist Art Movement of the 1970s, followed by a case study for each artist which individually examines institutional support and analyzes market trajectories. A fourth case study, which reviews the peculiarity of Yayoi Kusama's immense success, provides a supplemental comparison to Chicago, Schapiro, and Ringgold. While many artists are associated with the Feminist Art Movement of the 1970s, the scope of this research is limited to Chicago, Schapiro, and Ringgold in order to effectively evaluate the incongruence between support from the art market and institutions. Though all three artists slightly differ in findings for these inconsistencies, the overarching motivation for this cause is that collectors disfavor Feminist art due to its politicization, controversial baggage, and overall aesthetics.

The present thesis is broken up into two parts; a business plan (part I) and a case study (part II) that together examine the integration of sustainability in the art sector. The business plan outlines how RK & Co. Consultancy will provide art institutions with tailored services for greater environmentally-conscious operations. With services such as carbon emissions audits, strategy development, and eco-conscious exhibition design, the consultancy addresses the sector's unique challenges, particularly emissions from travel and shipping and the absence of standardized frameworks. Positioned at the intersection of art and environmental responsibility, RK & Co. Consultancy serves as a trusted partner for organizations seeking to lead by example in the race against climate change, redefining the art sector as a model for sustainability and innovation.

The following thesis examines the relationship between museums and pop culture, and how the evolution of the role of the museum has influenced this. Three case studies of museums within pop culture and media will be used, Night at the Museum (2006), Ocean's 8 (2018), and the "APESHIT" music video by The Carters (2018), respectively. Each chapter will detail a specific way in which the role of the museum has changed through specified subjects, namely education, fashion, and music. The first chapter will focus on Night at the Museum, a children's film which takes place at the American Museum of Natural History. The history of the Museum will first be contextualized, alongside its mission to educate the public. Dissecting the public's response to the film, the impact the film had on the Museum will be analyzed. Using the film Ocean's 8 as a case study, Chapter Two will outline the Metropolitan Museum of Art's (the Met) role in the making of the film as well as analyzing how the Museum is portrayed. In looking further into the relationship between Ocean's 8, Vogue, the Met Gala, and the Met, this chapter will illustrate the shift the Museum has gone through in regard to its place within pop culture. Analysis of the public's reception of the film as well as the overall impact the film made on the Met will be highlighted. The final case study chapter will focus on the "APESHIT" music video by The Carters which was filmed in the Louvre Museum. This third chapter will illustrate the history of the Louvre and its previous attempts to broaden its audience, the pop culture phenomena that are Beyoncé and Jay-Z, and outline the music video itself. Themes within the video will be analyzed, as well as the public's perception, and the impact this had on the Louvre. Together, each chapter will provide a comprehensive overview of how museums' have increasingly leveraged pop culture to directly increase visibility to their institution.

This thesis provides an overview of the 1970s British Punk movement's inception to determine whether the subculture fell victim to capitalization and consumerism. By examining Jamie Reid (1947-2023), Vivienne Westwood (1941-2022), and Malcolm McLaren (1946-2010), the story of the famed band the Sex Pistols is told through its visual arts and marketing tactics. Each figure's legacy provides this thesis with the intricacies of Punk history and its transition into a subculture plagued by consumerism.

Cross-industry collaborations as a marketing strategy are not new. Luxury brands have long mastered the art of leveraging artistic associations in their process of decommercialization, aiming to reshape their brand image to emphasize their cultural depth. However, in recent years, marketing practices that involve collaborating with artists and leveraging the power of art have spread across a wider range of industries. Especially with the rapid growth of technology, more tech companies are now using art in their marketing efforts to make their products stand out in a sea of similar offerings, creating emotional connections and a sense of uniqueness.

In the Castro District of San Francisco, where rainbow flags wave among the streets, a distinct institution serves as both a mirror and a beacon for the LGBTQ+ community. The Gay, Lesbian, Bisexual, and Transgender Historical Society, Museum and Archives, often referred to as "San Francisco's queer Smithsonian," is a vibrant testament to the community's resilience and pride. It stands out as a vital educational institution for the community it serves, and as an exemplar among LGBTQ+ arts, historical, and archival institutions in the U.S. Their strategies are a model for thriving in the face of major sociopolitical obstacles for small culturally specific museums, especially in the LGBTQ+ sector. The GLBT's Executive Director Roberto Ordeñana, key staff members Isaac Fellman and Leigh Pfeffer, and supporters including Cleve Jones, a pivotal figure in the fight against HIV/AIDS and a co-creator of the AIDS Memorial Quilt, contemplate the organization's next chapter. Despite its rich history and vital mission, the museum faces mounting financial and operational challenges. As public interest waxes and wanes and resources dwindle, the museum team and its allies face hugely consequential decisions about who and what it is and how far it must go to ensure that its heritage remains intact for future generations.

This research paper explores approaches institutions take to promote art to millennial collectors. Understanding the tastes and consumer behavior of millennial collectors is imperative for galleries and auction houses to increase sales. Methods used to investigate these strategies were reviews of art publications, historical trends, literature, analytical data, and interviews with industry professionals. Research shows that millennial art collectors are receptive to forms of art marketing through social media engagement, interactive exhibitions, and social causes. These findings establish an understanding of how art dealers attract and retain millennial art collectors.

Art, widely recognized as an effective medium for education and advocacy, has witnessed a proliferation of sustainability-themed exhibitions to raise societal attention to environmental sustainability. However, as one of the contributors to carbon emissions and a proponent of avant-garde ideals, the environmental sustainability of the art world/art market has rarely developed. Nonetheless, to eventually fulfill sustainable living for the whole of humanity, every industry has to participate in this sustainability campaign, which includes the art world/art market. Biennials, art fairs, museums, galleries, and auction houses have gradually joined the sustainability movement. The effectiveness of their environmental sustainability within the market is worth attention and evaluation. This paper focuses on evaluating the environmental sustainability effort during the execution of art fairs and biennials inside the art world/art market. It concludes the current phenomenon of the carbon reduction practices in the art market, also offers suggestions for potential effective strategies from within the art world/art market perspective and from a whole society perspective, as well as further research suggestions for the future in terms of sustainability outcomes within the art market.

Museums play a pivotal role in enhancing and fostering visitors' knowledge, abilities, and thinking. In the past, people used to believe that the best way to acquire historical and ancient knowledge was by visiting museums. However, contemporary museums that solely focus on on-site attendance may seem outdated. Recent research indicates a decline in museum attendance compared to 2019, and even in the post-pandemic era, the visiting rates still remain below their pre-COVID figures. To comprehend the strategies museums employ in adapting to contemporary trends, I have chosen "Augmented Reality (AR)" as the research focus of my thesis paper. For this reason, I am conducting research to explore how museums apply AR to attract audiences. The purpose of this study is to analyze The Metropolitan Museum of Art and The Dalí Museum, examining their motivations for adopting AR. Through examining their timeline of implementation, approaches to integrating AR, and the resulting impact on both the museum and visitors, the ultimate goal is to provide museums with a comprehensive evaluation framework to determine the viability and effectiveness of adopting AR technology. In addition, these findings may interest museum researchers and app designers, encouraging them to develop a broader range of AR applications to provoke a more engaging digital learning experience.

The term celebrity has gained widespread usage in the last century, and its meaning continues to evolve depending on the individual's profession. A variety of celebrities are recognized and admired in their respective fields, such as professional athletes, musicians, writers, business owners, collectors, and artists. Some celebrities achieve global fame far beyond their area of expertise. However, certain professions like surgeons, writers, or artists are usually only recognized and respected by their own specific group. Vincent Van Gogh and Michelangelo are known by people both within and outside of the art world, but their fame has nothing to do with today's celebrity culture. The definition and standards of celebrity have changed alongside the evolution of the media.Many contemporary artists are not widely recognized by most people. While certain male artists like Andy Warhol, Jeff Koons, and Salvador Dali have gained popularity and recognition, this thesis focuses on female artists who have become celebrities in their own right. These artists work in various mediums and have gained high reputation and critical acclaim through their unique themes, styles, and techniques in creating art. This research will closely examine three highly influential women artists: Yayoi Kusama, Marina Abramović, and Cindy Sherman. Over the last two decades, these artists have gained widespread recognition and have been celebrated in art circles and popular culture. The objective of this thesis is to investigate and scrutinize the biographies of these artists and identify the moment when they achieved fame. The research will also identify any changes in the markets of these artists and the growth or lack of growth in their careers and reputations during these crucial years.

This thesis examines the phenomenon of bubbles in the contemporary art market, exploring their formations and how Hyman P. Minsky's five stages of a bubble can be applied to analyze their existence in the market. The study focuses on the contemporary period marked by intense global economic upheavals and new market entrants to the art world. The research provides context by tracing the financialization of the global contemporary art market, showing how it has become prone to bubbles following major financial events. The questions are framed around understanding bubble formation and their links to financial and economic forces. The examined case studies between 1980 to 1990, spotlight the rise of the "Art Stars" of the New York-based Neo-Expressionism market influenced by the financial boom on Wall Street and the Impressionist auction market fueled by the Japanese asset price bubble. The 2012 to 2022 period is also examined, characterized by the post-2008 financial crisis and the emergence of the Zombie Formalism bubble, and later what the unraveling NFT bubble is revealing about the future of the art market. The thesis contributes to the understanding of how financial and economic forces drive bubbles in the contemporary art market. By investigating key periods and case studies, the research sheds light on the complex interplay between market dynamics, global events, and speculative behavior.

This thesis comprises a case study (Part 1) and a business plan (Part 2). The case study will focus on the incidents and controversy surrounding the exhibition “After Freedom of Expression” from Aichi Triennale 2019. This exhibition is an important case of showing a major example of censorship caused by the government of Japan. Since Aichi is also a metropolitan area in Japan, Aichi Triennale is a great example of the business plan.

The business plan outlines a strategy and the overview of a proposed art festival, the Osaka Triennale, which will be held in Osaka, Japan. Osaka Triennale is an art festival held every three years in Osaka, having the mission of making Osaka a place to enjoy arts and culture. The case study illustrates the modern issue of when having an art festival in Japan, which Osaka Triennale will have to keep in mind in order to be produced.

In the post-pandemic age, technology has grown significantly to create an impact on the art world. Whether it is planning an immersive art experience, hosting exhibitions and selling art in decentralized spaces, art organizations such as museums and galleries have begun to incorporate the use of technology as part of their program as an additional strategy to increase audience engagement and traffic even when they are not physically present. This thesis compares a case study (Part 1) and a business plan (Part 2), with the purpose of investigating the actual performance of the technology in art. I will apply the case study of the collaboration between The Mill and Tate Britain to my business of creative marketing studio with a focus on marketing and design through cutting-edge technology.