When an artist signs away control of their artwork through long consignment periods or moral rights waivers, it’s more than a legal detail—it’s a silent shift in power.
The moment I received my initial consignment agreement for a new gallery show felt like the beginning of the end. A six-month extension seemed excessive, given there was no established relationship beyond that exhibition. My practical request to shorten this period was met with a polite ‘we’ll see,’ but ultimately nothing changed.
Moral rights waivers, while less common, offer another layer of control. In my case, it felt unnecessary and restrictive for a residency where I had hoped to retain creative autonomy. An art lawyer’s clear explanation underscored the imbalance: he didn’t call it ‘standard’; he called it a waiver that expanded one side's control.
Walking away wasn’t ideal, but it defined my boundary with these institutions. Most artists do sign such agreements, accepting them as part of the process. But what if more took a closer look?
