Underrated and Outperforming: Perspectives on the Eastern European Art Market

In the shadow of Western Europe’s dominant art markets, Eastern European countries are carving out their own distinctive artistic identities, shaped by complex histories and emerging market dynamics. Jennifer Braun, also known as The Gen Z Art Critic, interviewed four gallery directors from across the region – Anca Poterașu (Galerie Anca Poterasu, Romania), Zuzana Dankova (COMMA Gallery, Slovakia), Monika Dropek (MAD Art Gallery, Poland), and Fruzsina Kigyós (acb Gallery, Hungary) – to discuss the challenges and opportunities of operating in these evolving art scenes.

While art scenes in Western Europe get a lot of attention, the East remains underrated. How do you assess the market in your region?

Galerie Anca Poterasu (Romania): The art market in Romania is emerging but remains fragile due to economic and geopolitical challenges. The current situation—canceled elections, the rise of the far right, and proximity to the war in Ukraine—adds uncertainty. In May we have elections, a critical moment for our country. Despite these difficulties, there is growing interest in local artists, and independent galleries and initiatives play a crucial role in sustaining the art scene. However, funding remains inconsistent, and collectors are relatively few. Many artists rely on international opportunities to gain visibility and financial support.

COMMA Gallery (Slovakia): The art market in our region is still very small, but slowly developing. We’re fortunate to have serious collectors around us, but face challenges in public art education and awareness. After the fall of the regime in 1989, most art was sold directly from studios, bypassing galleries entirely. We’re still working to shift that mindset and help people understand the importance of galleries in shaping both the market and cultural dialogue.

acb Gallery (Hungary): The art market in Central and Eastern Europe is gaining significant international recognition after being traditionally overshadowed by Western European art hubs. Major institutions like Tate Modern, MoMA, and Palais de Tokyo now host exhibitions for CEE artists. There’s immense potential for growth as local collectors refine their tastes and gain international exposure. Digital transformation is making it easier for CEE artists and galleries to connect with global audiences, though challenges remain in ensuring sustained visibility and institutional support.

MAD Art Gallery (Poland): The Polish art market is still developing compared to Western Europe. While the West has highly developed infrastructure with dominant centers in Brussels, London, Paris, and Berlin, Poland’s key centers are Warsaw, Kraków, and Poznań. Western Europe has a strong network of auction houses and prestigious galleries with substantial institutional and private support, while Poland has fewer private funds supporting artists, although there’s a growing number of collectors. The main interest of Polish collectors is in “modern” art, with increasing interest in contemporary Polish artists.

What artistic movements have historically shaped your city or region?

Galerie Anca Poterasu: Romanian art has been strongly influenced by the interwar avant-garde, with figures like Tristan Tzara (a key founder of Dadaism), Victor Brauner, and Eugène Ionesco (associated with Surrealism) connecting Romania to European modernist currents. Artists like Constantin Brâncuși, who revolutionized modern sculpture in Paris, remained a major influence. Later, during communism, socialist realism was imposed as the official artistic style, restricting experimental approaches. Still, we’ve had artists who were anti-system, creating an underground art scene. After the 1989 revolution, with newfound freedom of movement, many contemporary Romanian artists gained international recognition, exhibiting in prestigious museums and major biennials. These internationally known artists helped draw attention to Romania, inspiring and encouraging the new generation while bringing focus to our country. A key group in the post-revolutionary period was SubREAL, founded by Călin Dan, Iosif Király, and Dan Mihălţianu. Active in the 1990s, their work used irony and subversion to comment on Romania’s political and social transformations. 

COMMA Gallery: Bratislava and the surrounding region have been shaped by Central European heritage and local identity. Martin Benka was a foundational figure for Slovak modernism, merging national themes with modernist influences. Later in the 20th century, more experimental and conceptual tendencies emerged with artists like Juraj Bartusz pushing the boundaries of sculpture and performance, connecting Eastern European context with international avant-garde movements.

acb Gallery: Hungary’s contemporary art scene has been deeply influenced by Institutional and System-Critical Conceptual Art movements that emerged in the late 1960s as challenges to state-imposed socialist realism. Artists like Dóra Maurer, Miklós Erdély, and Tamás Szentjóby experimented with conceptual approaches, using subtle resistance to navigate censorship. The Bookmarks series, a joint project by acb, Kisterem, and Vintage Galéria, has been crucial in repositioning Hungarian Neo-Avant-Garde art within the international art-historical canon.

MAD Art Gallery: All major movements like Baroque and Renaissance influenced Polish artists. Poznań and Wielkopolska witnessed various artistic styles, from Gothic architecture to contemporary street art. The region not only drew from Western trends but also brought innovative ideas to Polish culture. Poland’s history, including 123 years of division under three different countries and later the impact of communism, deeply influenced artistic expression. Artists often had to find creative ways to express themselves while navigating censorship, becoming voices of hidden, anti-system messages.

How do you assess the situation of contemporary artists in your city or region?

Galerie Anca Poterasu: Contemporary artists in Romania face a lack of infrastructure – museums, institutions – and stable financial support. Public funding is limited and unpredictable, and the local collector base is small. There are several Romanian artists working with international galleries, connected to the international art world through residencies, biennials, and collaborations, which offer exposure and financial stability. Independent spaces and artist-run initiatives play a crucial role in sustaining artistic production. While the scene is vibrant and dynamic, financial insecurity and limited institutional support remain key obstacles.

COMMA Gallery: Contemporary artists face difficult conditions with not enough galleries actively supporting their careers long-term. Many artists navigate the scene independently, relying on alternative spaces or international residencies. There’s a lack of clear local tradition that resonates with younger generations, who are searching for new forms of expression reflecting their personal or global experiences. Despite these challenges, some artists have built strong international reputations.

acb Gallery: From our perspective, contemporary artists in Hungary—and across the CEE region—are navigating a landscape full of both opportunity and uncertainty. International institutions are showing increasing interest in artists from the region, which is helping to broaden visibility and reshape perceptions. At the same time, artists in Budapest often work within a fragile support structure, where public funding is limited and political dynamics can influence access to resources. Despite these pressures, the scene remains surprisingly resilient and full of creative energy.

MAD Art Gallery: Poznań and the Greater Poland region offer a dynamic yet challenging environment. While there are strong institutions and independent initiatives, artists face economic limitations and a small collector base. Unlike Warsaw or Kraków, Poznań has a relatively small art market and few private galleries. Many artists rely on competitive grants from the Ministry of Culture, local government, or EU cultural programs. The city is known for its focus on experimental art, particularly the Poznań School of Animation, but many artists need to take on teaching jobs or work in design to sustain their practice.

Is your collector’s base local or rather abroad?

Galerie Anca Poterasu: I have some local collectors who support the gallery, but the most active collectors are from abroad, primarily from Western Europe and the US. The local market is still small but is gradually increasing. International exposure remains key for most Romanian artists, as it provides both recognition and financial stability.

COMMA Gallery: Currently, about 95% of our collector base is local. We’re deeply rooted in our domestic environment, seeing this as both a challenge and an opportunity. The connection to the local community is strong, and our goal is to continue growing that trust while gradually opening up to more international audiences.

acb Gallery: Our collector base reflects a mix of local interest and growing international recognition. While many Hungarian collectors still gravitate toward modern or classical art, we’ve seen a new generation becoming more engaged with contemporary practices. International collectors have also started to pay closer attention to Central and Eastern European artists—especially as institutions like Tate Modern and MoMA include them in major exhibitions and collections. This broader interest offers important validation for the region and opens doors for our artists abroad.

MAD Art Gallery: MAD Art Gallery has a mix of both local and international art collectors. The majority of active collectors supporting Polish artists are local. However, as part of a larger organization presenting international artists, we also have international collectors. There’s an increasing demand for Polish art abroad, resulting in more inquiries from international collectors.

What are your advantages in comparison to more saturated cities?

Galerie Anca Poterasu: Although I haven’t experienced saturated markets firsthand, Romania offers an environment where artists can experiment without excessive commercial pressure, which benefits both artists and creativity. There is also growing interest in emerging artists from Eastern Europe. The relative lack of rigid institutional structures fosters a more flexible and dynamic, enthusiastic artistic scene. However, Bucharest is becoming an increasingly expensive city—what used to be lower costs are no longer the case. Additionally, we compete in international art fairs with galleries from more advanced markets. I see more disadvantages at the moment. That said, I have never lived and worked in a saturated city, so these are just suppositions.

COMMA Gallery: Bratislava offers a less saturated environment with fewer artists, fewer galleries, and therefore, less competition. This allows for closer and more personal relationships between galleries and collectors. The scene may be small, but it’s highly responsive, with room for real collaboration and dialogue.

acb Gallery: The art scene in Budapest is smaller and less saturated than in cities like Berlin, London, or Paris, which creates space for experimentation and the realization of new artistic initiatives. Galleries and artists here can more easily build direct relationships with each other, as well as with audiences and collectors. This allows for a more personal and immediate dialogue—something that is often harder to achieve in larger, more structured markets. At the same time, the limited market size and funding opportunities present ongoing challenges. Nevertheless, Budapest’s cultural diversity and the openness of its art community keep the scene fresh and engaging. Such an environment can often be more inspiring than the over-saturated markets of larger cities, where competition is fierce and operational costs are significantly higher.

MAD Art Gallery: MAD Art Gallery in Poznań is an international branch of Uitstalling Art Gallery from Genk, Belgium. This cooperation enables artistic exchange between Poland and Belgium, enriching local art scenes with new perspectives. The proximity of local art universities provides insight into the latest trends and directions, giving us the opportunity to observe artists’ development and present the most interesting ones to wider audiences both in Poland and abroad.