The Rise of Virtual Previews: How Galleries Are Using AR and VR to Tease Upcoming Shows
Virtual previews are transforming how galleries promote exhibitions by letting collectors and art lovers experience shows through augmented reality (AR) and virtual reality (VR) before the doors open. Leading galleries now use AR to place artworks in a buyer's own space and VR to stage entire exhibitions months in advance. These tools are not gimmicks: they are becoming core planning and sales infrastructure. This case study examines how early adopters used virtual previews to drive measurable results, and what other galleries can learn from their approach.
Executive Summary / Key Results
The most successful virtual preview programs combine three elements: a 3D digital twin of the physical show, a user-friendly AR placement tool, and a planning workflow that integrates the virtual exhibit into the gallery's standard operations. Victoria Miro, a leading contemporary art gallery, was the first to integrate 3D modeling, AR, and VR into all its activities, including an extensive exhibition archive, according to a launch statement. Lisson Gallery's AR platform, developed over 18 months, went live on April 23 and allowed users to place one of 100 available works into their own environments.
These early efforts produced concrete results: digital twins became an "advanced planning tool" used to hang shows in virtual space months before the physical install. Will Shott, who runs his eponymous gallery in Manhattan's Two Bridges neighborhood, predicts that "one million percent, galleries with the infrastructure to do so will have virtual tours of every show". The data from these frontrunners suggests that virtual previews are not a temporary pandemic workaround but a permanent shift in how galleries tease, plan, and sell exhibitions.
Background / Challenge
Galleries face a dual challenge: declining foot traffic and rising expectations from digital-native collectors. Hal Bromm, who is celebrating 50 years at his New York gallery, has observed that while opening receptions with artists still attract crowds, traffic has dropped significantly since the 1970s. "People go to art fairs the way they used to go to galleries," he says. This shift means galleries must find new ways to engage audiences and preview upcoming shows outside the traditional brick-and-mortar visit.
At the same time, the pandemic accelerated the adoption of online viewing rooms, but many early efforts were flat, static PDFs. Collectors wanted to understand scale, context, and atmosphere—things a JPEG cannot convey. Virtual previews solve that problem by offering an immersive, spatial experience. As early as 2019, Victoria Miro recognized the need for a more sophisticated digital platform, eventually launching Live / Archive to offer exhibitions online at a cutting-edge technical and experiential level.
The challenge was not simply replicating the gallery experience online. It was about creating a tool that could serve multiple purposes: a teaser for upcoming shows, a planning instrument for curators, and a sales channel for collectors. Each of these functions requires different features and workflows. Galleries that treated virtual previews as a one-off marketing stunt missed the opportunity to integrate them into their core operations.
Solution / Approach
The galleries that succeeded took a holistic approach, integrating AR and VR into every stage of the exhibition lifecycle. Victoria Miro's Live / Archive platform, powered by Vortic—a platform for online exhibitions in 3D, AR, and VR launched by Oliver Miro in March 2020—was designed to feel like "a really core part of the gallery," according to Oliver Miro. The platform uses a mix of 3D modeling, AR, and VR to create digital twins of shows. "We're working with the artists, really closely, on not only the physical show but the digital twin of the show," Miro explains.
Lisson Gallery's approach focused on AR as a sales and preview tool. The gallery spent a year and a half developing a platform that allows users to "place" one of 100 available works into their own personal environments. "You can scroll down and select the artwork you want—say you chose a Carmen Herrera sculpture—you can place it in your garden or courtyard," says Mitchell. "You basically pick it up and set it down. You'll see what is in front of you with your camera". This simplicity was deliberate: the goal was to reduce friction for collectors who wanted to visualize art in situ before committing to a purchase.
Hauser & Wirth and Massimo De Carlo also announced their own e-commerce virtual reality platforms, signaling that the trend was spreading across the mega-gallery tier. The common thread is that virtual previews are not just about showing art—they are about helping collectors and curators make decisions. As Duffeleer of Lisson Gallery noted, "The ease and simplicity of positioning a sculpture, installation, or painting in your own space, in augmented reality, and virtually share a 3D scene to be viewed and edited by others, is revolutionary for many—especially at a time when people are endeavoring to reduce physical travel, costs and logistical burdens".
Implementation
Implementing a virtual preview program requires more than picking a software vendor. It demands a workflow that connects the digital and physical exhibition planning. Victoria Miro's Live / Archive is used as an "advanced planning tool for the exhibitions. So pretty much every exhibition now we hang the show in the [virtual] space months before," says Oliver Miro. This means the digital twin is not a post-hoc record; it is a working model that curators use to test layouts, lighting, and adjacencies before the physical install.
For galleries considering a similar approach, the following steps outline a practical workflow based on the experiences of these early adopters:
- Capture and model the space. Use 3D scanning or modeling to create a digital replica of the gallery's physical rooms. This becomes the canvas for virtual exhibitions.
- Integrate with the exhibition planning process. Rather than treating the virtual show as a separate project, make it part of the standard curatorial workflow. Hang the show virtually months in advance to identify potential issues.
- Select an AR platform for collector interaction. Choose a tool that allows users to place artworks in their own environments with minimal friction. Lisson Gallery's platform, for example, allowed users to pick up and set down a Carmen Herrera sculpture in their garden.
- Train staff and artists. Oliver Miro emphasizes working closely with artists on the digital twin. This ensures the virtual representation is faithful to the artist's intent and the physical show.
- Promote the virtual preview as part of the teaser campaign. Use the virtual tour to build anticipation, share on social media, and invite collectors to explore the show before the opening.
One limitation is that not all galleries have the infrastructure or budget to implement a full VR/AR program. Will Shott's prediction that "galleries with the infrastructure to do so will have virtual tours of every show" implies that smaller galleries may need to start with simpler tools, such as basic 360-degree photography or accessible AR apps, before investing in custom platforms. This works best when a gallery already has a digital catalog and some technical staff. For others, partnering with an established platform like Vortic can lower the barrier to entry.
Results with Specific Metrics
The galleries that implemented virtual previews reported tangible benefits across planning, engagement, and sales. The metrics below summarize the outcomes from the cases examined.
| Metric | Victoria Miro (Live / Archive) | Lisson Gallery (AR Platform) |
|---|---|---|
| Number of artworks available for AR placement | Not specified | 100 works |
| Development time | Platform launched March 2020 | 18 months |
| Key feature | 3D modeling, AR, VR integrated into all activities | Place artworks in personal environments |
| Planning impact | Hang shows virtually months before physical install | Not specified |
| User experience | Digital twin of every show | Pick up and set down art in your space |
Victoria Miro's Live / Archive is notable for being the first to integrate 3D modeling, AR, and VR into all its activities, including an extensive archive of exhibitions. This comprehensive approach means that past shows remain accessible, and future shows can be previewed. The platform uses Vortic, which launched in March 2020 with serendipitous timing just as the pandemic shut down physical galleries.
Lisson Gallery's AR platform went live on April 23 and allowed users to place one of 100 available works into their own environments. The gallery's development cycle of 18 months indicates a significant investment in getting the user experience right. The platform's simplicity—"you basically pick it up and set it down"—was designed to appeal to collectors who may not be tech-savvy.
Beyond these specific metrics, the broader trend is clear. Will Shott's prediction that galleries will have virtual tours of every show suggests that virtual previews will become standard. Hal Bromm sees potential in using VR for client interaction, virtual studio visits, and previewing works in situ. Apple's Vision Pro headset includes avatars that mirror users' expressions in real time, which could further enhance virtual previews by making them more personal. Bob Cooney, a location-based entertainment expert, is observing new AR models where more than 100 people can simultaneously participate in immersive storytelling experiences with minimal staff intervention. This kind of scalable, personalized experience could open doors for galleries and auction houses to reach larger audiences without proportionally increasing costs.
Key Takeaways
Virtual previews are not a replacement for physical exhibitions; they are a complement that can drive attendance, facilitate sales, and streamline planning. The most successful programs treat the digital twin as a core asset, not an afterthought. By integrating AR and VR into the exhibition lifecycle, galleries can tease upcoming shows, allow collectors to visualize art in their own spaces, and even plan installations months in advance.
For art enthusiasts, virtual previews offer a new way to engage with exhibitions regardless of geography. For collectors, they provide a low-risk way to test-drive art before purchase. For galleries, they represent an opportunity to revive declining foot traffic by creating anticipation and deeper engagement.
As you explore upcoming shows, look for virtual preview options. They are becoming a standard part of the gallery experience. To dive deeper into how previews drive attendance and sales, see our related articles on Curator Interviews: How Exclusive Previews Drive Museum Attendance and Art Sales and Exhibition Previews: A Complete Guide.
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