Can Performance Art Win Over a New Generation of Collectors?

Galleries see new potential in attracting Gen Z collectors with experiential works.

Published on Feb. 21, 2026

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Performance art has long been a challenging medium to sell, as its intangible and experiential nature makes it difficult to commodify. However, galleries are now exploring new ways to make performance art more accessible and appealing to younger collectors, particularly those in Gen Z. Strategies include creating 'performance editions' that pair documentary materials with the original work, as well as showcasing unique, uneditioned performance pieces that can generate engagement and visibility.

Why it matters

The market for performance art has historically been limited, but galleries are hoping to tap into a new generation of collectors who may be drawn to the radical and immersive nature of these works. By making performance art more visible and accessible, galleries aim to attract a younger, tech-savvy audience that engages with art in new ways.

The details

Galleries have been experimenting with different models to make performance art more sellable, such as Marina Abramović's 'performance editions' that pair documentary materials with her original works. Tino Sehgal has also found success by selling the rights to his performances orally, without any physical documentation. Meanwhile, unique performance pieces like Felix Gonzalez-Torres's 'Untitled (Go-Go Dancing Platform)' are being brought to art fairs with high price tags, with the goal of attracting a new generation of collectors.

  • In the late 1980s, a model for financially sustaining performance art developed.
  • In 2008, the Museum of Modern Art purchased Tino Sehgal's 2003 performance 'Kiss' for a reported $70,000.
  • In 2010, Marina Abramović's performance 'The Artist Is Present' at MoMA brought performance art into the mainstream.
  • In 2026, Felix Gonzalez-Torres's 'Untitled (Go-Go Dancing Platform)' is on view at Hauser and Wirth's New York location through April 18.

The players

Marina Abramović

A pioneering performance artist who helped develop a model for financially sustaining performance art by creating 'performance editions' that paired documentary materials with her original works.

Tino Sehgal

A performance artist who sells the rights to his performances orally, without any physical documentation.

Felix Gonzalez-Torres

A conceptual artist whose 1991 work 'Untitled (Go-Go Dancing Platform)' features a blue platform with a dancer performing a brief, unchoreographed solo.

Sean Kelly

A New York art dealer who helped Marina Abramović build her commercial career by turning material from her archive of 1970s performances into 'performance editions'.

Kyle Collins

A Gen Z TikTok creator who bills himself as 'your Gen Z art world informant' and is vlogging his daily visits to Hauser and Wirth to see if he can catch a go-go dancer on the 'Untitled (Go-Go Dancing Platform)' work.

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What they’re saying

“The sophistication with which audiences, institutions, and collectors have responded to performance has become more plural.”

— Sean Kelly, New York art dealer

“Museums and galleries now understand that bringing performance artists into their programs can attract a different audience, a younger generation engaging with images in new ways.”

— Sean Kelly, New York art dealer

“There is a new appetite among collectors for artworks that 'have a radical base and go to the edge of what you are able to take in.'”

— Thaddaeus Ropac, Art dealer (artnet.com)

What’s next

Galleries will continue to experiment with new ways to make performance art more accessible and appealing to younger collectors, particularly those in Gen Z. This may include creating more 'performance editions' and showcasing unique, uneditioned performance pieces that can generate engagement and visibility.

The takeaway

While the market for performance art has historically been limited, galleries are now seeing new potential in attracting a younger generation of collectors by making these experiential works more visible and engaging. By tapping into the growing appetite for radical and immersive art, they hope to get more Gen Z-ers through the gallery doors and interested in building art collections.