A solo exhibition proposal asks a gallery, project space or funder to commit time, a room and often money to work that is still partly yours to define. That is a significant request, so the proposal has to do more than describe a group of artworks. It has to show a coherent idea, a realistic plan for the space and enough evidence that you can deliver.
Most artists write proposals only occasionally, and the format is rarely taught. This guide explains what a proposal should contain, how to match it to a venue and how to present it so that a busy curator can understand the project quickly. It stops short of promising outcomes, because selection depends on fit, resources and timing.
What a solo proposal needs to prove
A proposal is an argument, made in a calm and practical tone. It needs to show that you have a clear idea for a show, that the work exists or can be made within the available time, and that you understand the room you are proposing to fill. Curators read proposals looking for projects they can actually realise, not for the most ambitious statement. Confidence supported by planning carries more weight than grand claims.
Think of the proposal as answering three questions in order. What is the exhibition about. What will be in it. How will it be made and shown. Everything else supports those three.
Defining the exhibition idea
Begin with a short, specific description of the show and the idea behind it. A paragraph or two is usually enough, written in plain language that a reader outside your immediate practice can follow. Avoid jargon and avoid overstatement. Explain the theme, the questions the work raises and why this group of works belongs together now.
If the project develops an earlier body of work, say so and show the thread. If it is a departure, explain what prompted the change. A clear idea is easier to support than a vague one, and it makes the rest of the proposal, from budget to layout, easier to write.
The body of work and its logic
List the works you intend to show, or describe the series you will produce, with an indication of number, scale and medium. If some pieces are not finished, say what stage they are at and how they will be completed. A curator needs to judge the shape of the show, not only the individual works.
Explain how the works relate to one another and how they will read in sequence or as a whole. Include images, clearly labelled, of existing work and, where useful, a simple sketch or diagram of a planned installation. Visual material should support the idea rather than decorate the document.
The practical plan for the space
Practical detail is where many otherwise interesting proposals lose credibility. Research the venue and respond to its actual design, not a generic idea of a gallery. Note the dimensions of the space if the organiser publishes them, and show how your plan uses the walls, floor, light and access.
Include a short technical note on installation, transport, any special requirements such as power or fixings, and the time needed to set up. If the work has unusual demands, state them honestly and early, because a hidden complication discovered later damages trust.
A simple budget helps the organiser see how the project might be funded or supported. Distinguish between costs you are asking the venue to cover and those you will meet yourself or through other funding. Point to relevant official guidance for funding schemes rather than assuming a particular source will apply.
Assembling the supporting material
Most proposals need a short artist statement, a biography, a CV and a selection of images. Keep each item consistent with your wider records, so titles, dates and dimensions match across documents. A statement should explain your practice in plain terms and connect to the proposed show, rather than rehearse your whole career.
If the call asks for a covering letter or a specific form, follow that structure precisely and keep your document within any length limit. Curators appreciate a clear, well-ordered file over a long one. Provide images in the requested format, labelled so they can be matched to the list of works.
Presenting the proposal and following up
Send the proposal through the route the venue specifies, whether that is an online form, an email or a posted application. Check every attachment before sending and keep a dated copy of exactly what you submitted. If the venue states a decision timeline, respect it and do not chase within that period.
If the proposal is declined, ask for brief feedback only if the organiser offers it, and treat the answer as information about fit rather than a verdict on the work. A proposal that is not right for one space may suit another, and a well-made document can be adapted and resubmitted elsewhere with modest changes.
Funding and venue decisions are governed by each organisation's own rules. Treat their published guidelines as the authority on eligibility, deadlines and requirements, and allow time to read them before you write.
Practical checklist
- [ ] Describe the exhibition idea in plain language in one or two paragraphs.
- [ ] Show how the works relate and what the show will contain.
- [ ] Include labelled images and, where helpful, an installation diagram.
- [ ] Research the venue and respond to its real dimensions and access.
- [ ] Note installation needs, transport and set-up time honestly.
- [ ] Set out a simple budget that separates venue costs from your own.
- [ ] Keep statement, biography and CV consistent with your other records.
- [ ] Submit by the stated route and respect the decision timeline.
Contributing to BGTC Voice
A clear solo proposal is a form of professional communication, and the craft behind it is worth documenting. If you have prepared or reviewed exhibition proposals, whether for an independent space or a public gallery, BGTC Voice welcomes practical accounts of what makes a document work. Share the method and the questions that matter, keep sensitive details private, and help other artists present their ideas with confidence.