Where to Buy Art in Israel?

This seemingly simple question reveals a deeper truth: the striking absence of contemporary art in most homes in Israel. In this journey through galleries, fairs, studios, and the web — including the innovative proposition of Piece of Work — we explore the changing face of buying art in Israel.

It may sound obvious, but authentic, locally inspired art — that grows from the place, the history, and the society in which it was created — is one of the cultural cornerstones of any community. In Israel, it reflects our stories, moods, tensions, ambitions, and desires. Just as we wouldn’t view "Little Tel Aviv" the same without Nahum Gutman, or glimpse the inner world of conservative religious Europe without Hieronymus Bosch, art is a mirror and a messenger.

While the Israeli canon boasts an impressive list of influential artists who have shaped the cultural and intellectual discourse, their works are rarely found in the average local home. Few people purchase Israeli art that isn't purely decorative. This gap — between the desire to bring culture home and the reality of doing so — is vast. The reasons are many, elusive, and not entirely rational.

Still, this article aims to focus on what exists, not what's missing. Piece of Work is here to help you navigate: where and how to buy art in Israel, and how local art might find its place in the domestic space.

Galleries: The Traditional, Intuitive Option

Pardon the simplicity, but an art gallery is to artwork what a Home Depot is to a can of color. Galleries with curatorial vision and ties to the contemporary art scene often serve as a kind of quality seal, helping audiences distinguish between well-regarded art and work of lesser stature.

When the state was founded, the Israeli art scene was small, tight-knit, and relatively academic. Early galleries like Givat Haviva Gallery or Chemerinsky Gallery operated alongside schools or individual artists. In the 1960s and 70s, independent commercial galleries such as Dovrat, Meiroff, and others emerged, trying to bridge between art, public, and market. During the 1980s and 90s, Tel Aviv became the unofficial capital of the art scene, with streets like Gordon and north Dizengoff filling with galleries. Yet, the audience remained small, and buyers were mostly collectors and institutions.

From the 1990s onward — especially after 2000 — Tel Aviv saw a rise in artist-run cooperative galleries. Initiatives like Hanina, Alfred, and P8 were founded by groups of artists who took control of how their work was shown and communicated, and sometimes sold. These often served as springboards for young creators or as homes for artists sidelined by the commercial scene.

Still, most art purchased in Israel — however limited in volume — is done through galleries. Despite their diversity and critical role, most people don’t feel comfortable entering a gallery. They don’t recognize artists’ names, and they’re unsure how to even begin approaching a purchase. At the same time, many artists — including those exhibited in galleries — struggle to earn a living.

The Rise of the Fair

If one development reshaped the local scene in the past 15 years, it’s the rise of the art fair as a platform. Like a festival, it's festive, temporary, energetic, and partly levels hierarchies — but when done right, it maintains curatorial standards and artistic credibility.

In many ways, the art fair emerged from the need to open up the traditional art world without sacrificing prestige, pricing, or context. It makes the experience more accessible, but also more commercial, walking a fine line between culture and consumption.

Alongside well-known global fairs in Basel, Cologne, Paris, and New York, Israel's standout example is Fresh Paint Fair, held annually since 2008. From the outset, it offered not just artists but a model: well-designed spaces, clear branding, a section for emerging talents, gentle music, and cultural FOMO. It worked. For the first time, broad audiences wandered through contemporary Israeli art booths, asked questions, and even bought. Dozens of young artists gained exposure, and some even made money.

Fresh Paint, which has since expanded to include a design section, excels at spotlighting new artists. Beyond that, another notable contribution is that for one week a year, it places a giant spotlight on Israeli art and pulls it into public conversation.

Still, one week isn’t enough to sustain the art ecosystem, and Fresh Paint doesn’t pretend to. While it includes some mid-career and senior artists, its core is emerging talent. Artists who’ve developed distinct styles or work in underrepresented mediums, and audiences seeking mature, long-term voices, shall still look elsewhere.

For the Connected Few: Studio Visits

Among the most personal ways to buy original art are direct meetings with artists or the guidance of art consultants and mediators. These are intimate, often emotional experiences — but they usually begin with an existing connection: either to the artist or someone close.

Most of us would be happy to meet talented, fascinating artists, but these encounters are rarely created on demand. For those lucky enough to be in the know, these visits can offer deep insight into the artist's world and the meaning behind the work.

Sometimes, interior designers with experience in art selection help bridge the familiarity gap. At the more exclusive end, private curators organize studio visits and introductions to artists they represent. While not a budget-friendly method, it suits those who can afford it and often leads to a meaningful, long-lasting acquisition.

This remains a niche route, unlikely to change broader housing culture or the place of art in the average Israeli home. But for a specific slice of the market, it's the most rewarding way to buy.

Buying Online: Emerging Change Powered by Tech

Numerous online art marketplaces have emerged in recent years, each with a different aesthetic or curatorial focus — from design-leaning prints to serious collector-grade works.

On one hand, online art buying sounds promising: unlimited selection, convenient access, and none of the intimidation or judgment that galleries may invoke. Technologies like augmented reality and wall previews add usability. On the other hand, buying an expensive item whose visual presence is critical can be daunting. Many buyers get overwhelmed by the lack of professional guidance, narrative, or trust-building — leading to hesitation and abandonment.

Artsy is a standout player: a well-established platform connecting galleries and collectors, offering works from emerging names to icons like Joseph Beuys and Andy Warhol. Saatchi Art represents a more open platform. Another notable venture is Tappan Collective, an online-first initiative (with a new gallery in L.A.) that curates contemporary artists for broader audiences.

Israel, too, has seen a shift. Fresh Paint now maintains a year-round online presence, and several galleries, like Maya Gallery, occasionally host virtual sales.

Which brings us to the host of this article. Alongside global platforms like Artsy and Tappan, Piece of Work is a digital initiative aiming to bridge the gap between quality contemporary art and the broader public. It combines curatorial discernment — selecting leading Israeli artists — with direct, long-standing relationships, enabling prices below typical gallery levels. It brings the feeling of a studio visit into an accessible digital format, with clear language and curated presentation. The goal is simple but ambitious: original Israeli art in every home.

With rising costs and relentless headlines, buying art may seem like a luxury. Yet this very reality might make art even more essential. In a world driven by likes, algorithms, and zero-sum metrics, a work created by hand, with heart, placed in your home — may be exactly what’s missing.

Rotem Dar is a marketing technology consultant and founder of the art platform Piece of Work.