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There is something quietly revolutionary about being able to tour the National Portrait Gallery from a sofa in Glasgow, or zoom into the brushwork of a Freud portrait without jostling for position. Digital art platforms have evolved enormously over the past few years, and the question of whether they can genuinely replicate a gallery visit has shifted from theoretical to urgent. The answer, as ever, sits somewhere between optimism and honest limitation.
The debate matters more than ever as cultural institutions recalibrate their audiences and funding priorities. A conversation that once felt niche — reserved for tech-curious curators — now sits at the centre of how the UK art world defines access, engagement, and even value.
What Gets Lost Without Physical Presence
Although there has been excellent progress, something real is missing when you swap a gallery floor for a screen. The tactile experience of standing before a large-scale painting — sensing its physical weight, the texture of impasto, the way light falls differently at each angle — cannot yet be reproduced digitally. Neither can the serendipitous encounter: bumping into another visitor who becomes a conversation, or stumbling upon a small work in a side room that quietly changes your afternoon.
The spatial awe of a physical gallery is similarly irreplaceable. Consider how differently you experience a Rothko in a white cube compared to a JPEG on a laptop. That said, digital entertainment industries have recognised this gap and worked hard to close it. For example, the best paying sites for online gambling offer polished, immersive digital environments — built around spatial audio, real-time interaction, and responsive UX. This shows that with the right technology, developers can make an online experience feel genuinely alive and engaging. Art platforms would do well to study that approach.
Where Virtual Galleries Succeed Today
Virtual exhibitions have become genuinely impressive at doing several things physical galleries struggle with. Global accessibility is the most obvious win: a collector in Melbourne or a researcher in Seoul can now explore a London exhibition in real time, without a flight. Interactive VR tours, AR overlays, and high-resolution zoom features have made digital platforms far more than static slideshows. Frameless in London, for example, has demonstrated that immersive digital environments can produce genuine emotional responses in visitors — not merely convenience.
Digital platforms also democratise art in a way that bricks-and-mortar institutions, constrained by geography and opening hours, simply cannot match. Engagement data backs this up. According to the UK Government’s Participation Survey, 35% of UK adults digitally engaged with the arts in 2024/25, up from 27% in 2021/22 — a meaningful shift in a relatively short period.
Why Curators Still Bet on Physical Shows
Despite all the innovation, curators and collectors continue to prioritise physical exhibitions — and the numbers reflect that conviction. According to the Art Basel and UBS Art Market Report, the UK art market reached $10.5 billion (£7.8 billion) in sales in 2025, holding an 18% global share. That figure reflects a market still rooted in the physicality of art — in viewings, studio visits, and fair floors.
Online collecting is genuinely growing, but physical presence remains the backbone of how trust is built between collector and object. The gallery experience carries a kind of authority that a screen cannot yet replicate — not because digital is inferior, but because the body still knows the difference. Until immersive technology can fully bridge that gap, the white cube endures.
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Gaston is a Belgian writer born in 1975. He writes on various subjects, Health, Fashion, Technology, CBD and Art for various publications including Spirou. He is based in Brussels.
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