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Artnet reports on the questions to ask before signing to a gallery:

The art industry, like any other, is built on relationships, and one of the relationships at its very foundation is the one between artist and gallery—boiled down to the simplest terms, between the person who makes the work and the person who sells it.

As they hammer out the terms of the relationship, it’s crucial that artists ask the right questions, from how the dealer understands the artist’s work to the nuts and bolts. The two parties are often friends, but in the end, this is a negotiation between two businesses, and in business, no one likes surprises. Artnet News surveyed a number of artists who show with galleries small and large about the kinds of questions artists should ask a prospective dealer (including the kinds of questions they wish they themselves had asked). So that they could be frank, all spoke off the record.

First of all, they stressed that artists must do plenty of research. To protect themselves, they should get in touch with the gallery’s artists, as well as those who have left the stable, to find out whether it’s a supportive environment and, crucially, whether artists get paid promptly for the sale of works consigned to the gallery. “It’s surprising how many galleries fail that test,” said an artist in their 50s who shows at one of the world’s largest galleries. (One New York artist who has shown throughout the U.S. and has had bad experiences suggests that artists could be as cheeky as to ask a New York dealer if they have read the state’s consignment laws, which dictate that dealers maintain a separate bank account for the artist’s share of the proceeds.)

“Talk to other artists and see if they’re happy,” said the 50-something artist, “with the caveat that a lot of artists are terminally unhappy narcissists.” Artists should keep in mind that just as they’re asking around, the dealer is doing the same, warns one artist who is also a gallery co-owner.

It might seem as though dealers have all the power; regarding questions to ask before a show, one artist joked that the typical attitude is, “If they’re going to give you a show, there are no questions.” But several artists described these negotiations as an opportunity for artists to advocate for themselves.

“Communication is key,” says the artist/dealer. “You want to not be afraid to discuss nitty-gritty stuff like what the split is, how often work will be shown, and what representation entails.” Both sides should be able to take their time, they add; negotiations shouldn’t take place under pressure.

“You should think about it as getting married,” the artist in their 50s said. “It’s very difficult to get divorced and very not fun to leave a gallery.”

Here are eight questions artists may want to ask: LINK