Why Digital Art Isn’t Replacing the Gallery

The digital boom isn’t a death knell for museums and galleries but a chance to democratize art and deepen engagement.

The headlines are hard to ignore: museum attendance is waning, galleries are closing and digital art is often framed as the culprit. The narrative is familiar: online access to collections and digital platforms are supposedly luring audiences away from the physical experience of viewing art. Critics argue that experiencing a piece directly—the scale, texture, color, presence—can’t be replicated online. Yet portraying in-person versus digital experiences as mutually exclusive ignores a more complex, and more interesting, reality. 

Are museums and galleries losing ground? 

First, let’s look at some facts. It’s true that museum and gallery attendance dropped sharply during the pandemic. Art consumption, just like many industries like nightlife, paused. Some spaces shuttered, particularly among mid-tiered galleries, raising alarms about the fundamentals of the traditional art market and prompting analyses across publications. Indeed, in-person visits may no longer be the primary path toward acquiring work. But it’s unlikely the gallery model is going anywhere anytime soon. 

That said, there remains a debate over whether we’ll ever return to pre-pandemic levels. Even before the pandemic, a 2013 New York Times article noted a downward trend in arts attendance. The American Alliance of Museums (AAM) reported that while overall attendance has not fully rebounded, institutions like the Metropolitan Museum of Art have exceeded pre-pandemic visitor figures, showing pockets of resilience. And AAM’s recent data does indicate that “incidence”—the number of people who’ve visited a museum in the past year—has recovered.

Why physical art still commands power 

Art is intensely personal. Its power lies in its intimacy. Nothing digital can wholly replace the visceral encounter with art. Even when reproduced in multiples, each work carries something singular, and that presence is best experienced in person. Sculpture offers obvious advantages: the ability to move around it, sense its scale and engage with texture. Paintings, too, rely on nuance and benefit from direct viewing—the subtleties of color, brushwork and physical scale are diminished online. Digital images often distort value, alter perspective and lose the subtle texture of brushstrokes. As critic Laura Hunt notes, when you see art in person, everything your eye can perceive is before you. Digital just isn’t there yet. A study by the Mauritshuis found that visitors had ten times the emotional response when viewing Girl with a Pearl Earring in person compared to a full-scale poster reproduction.

Sure, digital images will continue to improve. Someday, color accuracy might be perfect. But digital images will never replace being physically present with the artist’s work. Just as a live ballet carries weight no recording could match, physical artworks offer a connection that remains uniquely powerful. 

The digital domain is exploding

Digital art is a parallel frontier. The global digital artwork market is valued at $5.8 billion in 2025, and is projected to surge to nearly $11.8 billion by 2030. Within the overall art market, online sales now account for 18 percent of transactions, up from 13 percent in 2019. Collector activity remains robust, and younger cohorts of collectors—those that are digital natives, globally minded and more inclined to acquire art through online channels and bypass traditional auction houses—are entering the market. Galleries are responding: 43 percent plan to increase online sales focus in 2025, while 55 percent aim to produce more digital content, signaling strategic sector-wide shifts, not panic moves. 

This isn’t an either/or battle 

Pitting digital against physical risks creating a false binary. While the Art Institute of Chicago found that visitors spend an average of only 28.62 seconds with each artwork, digital platforms allow unlimited return visits and deeper study. Online archives provide details and context that would be impossible to revisit in person. Moreover, digital access democratizes consumption. 

We now have instant access to vast worlds of images and information. Many museums now offer entire collections online, and most artists maintain websites or social media pages to reach global audiences. Imagine what a gift this would have been to a 19th-century painter seeking inspiration. High-resolution imagery reveals details invisible to the naked eye, while digital archives make comparisons, research and discovery effortless. It’s easier than ever to compare pieces, explore context and dive into deep research. For many, especially those outside of major art hubs, digital access is their first meaningful interaction with art—at no cost.

Economic headwinds and changing buyer habits—emerging collectors are increasingly transparent, values-driven and skeptical of traditional hierarchies—favor digital adoption. In 2021, Sotheby’s and Christie’s began accepting cryptocurrencies in an attempt to lure younger, tech-savvy buyers. Meanwhile, art scenes in the UAE and Saudi Arabia are emerging as dynamic markets, blending in-person events with high-tech engagement. Digital isn’t displacing physical; it’s expanding what’s possible. 

The real question

The future of art appreciation is not a choice between pixels and presence. Both physical and digital experiences meet different needs and enrich one another. Many are still navigating the unique benefits of experiencing art in-person or online—and that neither can replace the other. Some New Yorkers lament that new skyscrapers peek over the trees in Central Park, changing views that were once exclusively green. Maybe museum and gallery visits will decline some. Change happens. But is that really so bad? As with any cultural shift, there will be change: perhaps fewer casual gallery-goers, perhaps more artists thriving online. But this is less about loss than expansion. 

The challenge for the art sector is to move beyond the binary. Digital tools are not a threat to traditional art experiences but a complement to them, broadening access and deepening engagement. The real opportunity lies in harnessing both—the electric charge of standing in front of a masterpiece and the boundless reach of a high-resolution image on a screen.