Custom Framing & Printing Forum
Virtual Voyage
From Bangladesh to Bhutan, photographer Wylda Bayrón explores remote corners of the planet in a cultural preservation project, informing the world about its evolution of identity. For a travel photographer this pause has been quite the time for reflection. All the places on my list have been frozen until we can all heal this world and be able to travel again. So, I’ve been time traveling with all the beautiful memories collected from years on the road. Recently I’ve been thinking a lot about Cambodia, where it all really started to come together for me. In 2004 I was in Mondulkiri, a remote eastern province, bordering Vietnam. It was about 18 hours by truck to the capital Phnom Penh. When I say by truck I mean, holding on to the back of a cargo truck; for dear life. I went there to spend time with elephant herders. The only way to really travel was by motorbike so I took the leap. Mondulkiri’s roads are all dust and red earth. After an insanely long day following a local friend through crazy up and down terrains at way too fast a speed, I took a bad tumble about 5 minutes from my guest house. The skin from my hands came off and were raw and I had stones embedded in the palm of my hand. Needless to say, I wasn’t getting out of there any time soon and I could not even hold my camera up. In that time I spent healing I made friends with the locals and got a new “aunty”, the owner of the guest house. I was treated like family and got to spend more time with the elephant herders and learn Kmer language. I let go of the anxiety of what I was missing and relaxed in the gift that was the every day life in one of the most unspoiled places on earth. I went from being a foreigner to being a “local” and that experience changed my view of what travel can provide. India and Papua New Guinea are without a doubt my favorite places to photograph. The colors and subjects are endless. So many diverse ethnic groups and cultures. It’s a feast for the eyes and a dream location for a travel photographer, provided you are adapt to handle all of the situations you are bound to encounter. For all my field work, no matter where I am, the most important aspect is the human connection and the trust between the group or individual and I. In the case of photographing the collection for “Skin”, it took living with them to gain the trust or the community and the elders both male and female. I had to complete several physical tasks that only men do in those parts, as well as convince the majority of the council of men and the chief that I was the right woman to be the keeper or their secrets. My process is very much research oriented at the start. I have to learn as much as possible about the region, people, culture, customs and I always learn the language of the place either months before or as soon as I land. It’s the most important tool I have as a travel ethnographic photographer. It’s my connection and my salvation. While on site I make sure to ingratiate myself with the local community and learn from them what’s important about their culture and start putting together the items and locations that best exemplify that. For my printing process I go image by image and figure out by intuition or experimentation what process might best create the photograph inside the image. When making an exhibition it’s a bit difficult because you have to make sure all the images have the same look and feel, so it’s about the spirit of the collection and not the individual image at that point. I often offer both color and black and white work in my exhibitions. I find color is more experiential and provides a realistic and faithful feel of the image, location and people, but I can distill the spirit of the subject much better in black and white. A key element in my work is the intimacy that the subjects express through their eyes. I am what and who the are looking at. The eyes are the most important component for me, as that is exactly where both worlds meet. In that gaze we share the connection and our humanity. In that gaze that’s encased in the photograph we get to live forever. My subjects, whether it’s a 5 second encounter or someone whose become family, they are all heroes to me. I always try to make them feel that way. They carry in them the culture and represent for the viewers that iconic image of their people.
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A Love Letter to Earth
"In the oldest desert in the world, the tallest sand dunes tower hundreds of meters into the sky. From dawn until dusk the colors of the dunes shift with the sun in stunning gradients of burnt reds and dusty pinks. From this perspective, the dunes bear a resemblance to the human form, an array of flesh tones blending and cascading in symphony, bringing to mind our complicated relationship with Nature and its magnetic pull on the human subconscious." -Brooke Holm From the oldest desert in the world, to the furthest depths of the Arctic, read more about Skyframe's August 2020 Artist of the Month, Brooke Holm's adventures in documenting the fine line between earth, architecture, and anatomy. Click through any image to be taken directly to the series. Get the look: Request a Quote or Schedule an Appointment "At one point, while I was standing on the bow of the ship, I was the furthest person North in the world." When I was a young girl, I read this book called ‘Northern Lights’ by Phillip Pullman. It was a fantasy of polar expeditions, science and talking polar bears. The book kept mentioning this place called Svalbard which I didn’t realize was a real place until later in life. When I found out it was indeed real, I made it my mission to go there. The expedition was such an incredible experience for me. Breaking through icebergs, hiking through the tundra, seeing a polar bear and other wildlife mere feet away and smelling the fresh crisp air of the Arctic. The smell is something I can’t forget. It was cold, clear and had a slight saltiness to it, where the wind had whipped up the scent of the sea. Everything was shades of blue and white and the textures of the ice and mountains were intense and varied. At one point, while I was standing on the bow of the ship, one of my guides told me that I was currently the furthest person North in the world. "What at first might appear to be a close-up of the human body is actually miles of cascading sand dunes that ebb and flow, each grain of sand playing its part in the bigger picture." My photographs are often exhibited in large-scale prints, highly detailed and influenced in part by architectural sensibilities and an appreciation for how spaces can impact us in emotional and physical ways. My vision is constantly being defined and redefined, and is often based on instinct and a certain feeling about things and their impact on me. The large scale of the works invites the viewer to almost step inside the frame. What at first might appear to be a close-up of the human body is actually miles of cascading sand dunes that ebb and flow, each grain of sand playing its part in the bigger picture. "We are not separate from nature, as much as we try to make ourselves believe this. We are connected, nature is within us, nature is us." My happiest and most vivid memories often involve being immersed in the natural environment. Something as subtle as the smell of pine trees or the feel of grass underfoot, or the sound of a trickling creek can trigger a deep emotional response for me. When I am working, a place will engage all of my senses. I am a very kinesthetic, emotional person - sensitive to touch, sounds, smells, sight. Even though the work ends up purely visual in its final presentation, for me it invokes the sensory experience of a place in its entirety. The power of that is inspiring. I have a deep respect for the force of nature. We are not separate from nature, as much as we try to make ourselves believe this. We are connected, nature is within us, nature is us. What does your process look like before, during, and after photo? I start with a lot of research. Research on places, histories, accessibility, significance to my practice etc. I scour a lot of satellite imagery and NASA’s archives. Once I know my place and my goal, I start planning logistics. For the actual shoot, I often need to charter a plane or helicopter and pilot to take me where I need to go. After the shoot it can take up to a year to edit, work through and finalize the final series. Who or what inspires you lately? Being in lockdown means I have had a lot of time for reading books I had started but never finished. Some recent gems that have inspired me are Zami: A New Spelling of My Name by Audre Lorde, Dark Matter by Blake Crouch, Between the World and Me by Te-Nahisi Coates, Contact by Carl Sagan, Rubyfruit Jungle by Rita Mae Brow and The Order of Time by Carlo Rovelli. How has COVID affected the way you work? I have been working on personal art projects, exhibitions, writing and creating music during this time, but also have given myself time to just exist - I have tried not to put additional pressure on myself to do something other than to just ride out the pandemic. It’s an unprecedented time that comes with a lot of physical and mental health issues, so we all need to take care of ourselves in whatever way we are able to. *This interview has been condensed.
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Custom Framing Resources
Museum Quality Art Crating: How Valuable Work Actually Ships
Introduction: What Museum-Quality Art Crating Really Means Museum quality art crating uses a rigid plywood box with internal cleat framing, a suspended or foam cradled interior that never lets the work touch the crate wall, and a moisture barrier to buffer humidity swings. The work is wrapped in inert materials, immobilized, and the crate is marked for orientation and handling. A crate is not a box. A box holds something. A crate isolates something from everything that happens to the box. Every impact, vibration, temperature swing, and humidity change that hits the outside of a well built crate should arrive at the artwork reduced, delayed, or not at all. Skyframe has been crating and moving work for galleries, museums, luxury retailers, and collectors since 1983, out of our Hillside NJ factory and our showrooms in Chelsea NYC and Miami. Here is what actually goes into a crate that does its job. What makes a crate museum quality rather than just a wooden box? A museum quality crate is defined by three things: rigid construction that does not flex under load, an interior system that suspends the work away from every wall, and a barrier that slows the transfer of moisture and temperature. A wooden box that meets none of these will still arrive intact most of the time. That is the problem with judging crating by outcomes rather than by construction. The structural standard is a plywood skin over an internal cleat frame, typically 1 by 3 or 1 by 4 lumber, screwed rather than nailed so the crate can be opened and reclosed without shock to the contents. Screws matter more than people think. Prying a nailed lid transmits impact straight into the interior. For international movement, crating lumber must be heat treated and stamped to ISPM 15 standards, which governs wood packaging material crossing borders. Untreated wood gets a shipment held at customs, which is an expensive way to learn the rule. How is artwork protected inside the crate? Inside a museum quality crate, the artwork never touches the crate wall. It sits in a foam cradle, on a suspended interior tray, or in a travel frame that carries the load, with a minimum air gap on all sides so that any impact to the exterior is absorbed by the foam system before it reaches the work. The layering runs from the artwork outward in inert materials only. Directly against the surface: an unbuffered tissue or a silicone release paper on works on paper, glassine on some surfaces, or a soft polyethylene foam on framed and glazed work. Then a moisture barrier such as a polyethylene sheet or a foil laminate. Then the cushioning system. Then the crate. Layer Material Purpose Surface contact Glassine, tissue, or release paper Inert separation, no adhesive contact Glazing safety Cross hatched tape or film on glass Contains fragments if glass breaks in transit Wrap Polyethylene foam sheet Cushioning and abrasion protection Barrier Polyethylene or foil laminate Slows moisture and temperature transfer Cushion Ethafoam or polyurethane blocks Suspends the work, absorbs shock Structure Plywood over cleat frame Rigidity, crush resistance, handling surface Two materials to avoid against artwork: bubble wrap in direct contact, which can emboss its pattern into a soft surface under pressure and heat, and any adhesive tape touching the work. Glass gets taped, artwork never does. When does artwork need a travel frame? A travel frame is required when the work cannot bear its own weight safely in a crate, most commonly for unframed stretched canvases, panel paintings, and large or fragile works where edge pressure is the risk. The travel frame carries the load through a rigid perimeter, and the crate then carries the travel frame. Unframed canvas is the classic case. Wrapping and blocking a bare stretched canvas puts pressure directly on the surface or on the stretcher edges, and a canvas under vibration for a long haul can develop stretcher bar marks or corner draws. A travel frame keeps every point of contact off the painted surface. For framed and glazed work, the equivalent decision is glazing material. Glass in a crate that will fly or cross a long overland route is a risk, since a break inside a sealed crate means shards moving against the artwork for the rest of the trip. Acrylic glazing is standard for anything shipping internationally or beyond a regional radius. How should a crate be built for a fair or an exhibition? Fair and exhibition crates need to be reusable, unpackable in a tight booth, and clearly marked, because the crate is not going into storage after delivery. It will be opened, emptied, stored on site or off, and reloaded within days. That changes the build. Exhibition crates use a removable lid on a gasketed lip rather than a fully sealed panel, cam locks or bolts instead of screws where the crate will be opened repeatedly, and internal foam cut to hold each piece in a fixed position so it can be repacked correctly by someone who did not pack it. Numbering the interior positions and matching them to a packing list is what keeps a de install from turning into guesswork at 9 pm. Marking matters as much as construction. Orientation arrows, a do not stack mark, weight, dimensions, and a contents reference should be on at least two faces. For a gallery running six fairs a year, a durable, reusable crate system pays for itself quickly. What about climate, humidity, and long transits? A crate cannot control climate, but it can buffer it. The moisture barrier slows the rate of humidity change reaching the artwork, which is the actual danger. Works on paper, panel paintings, and photographs respond to rapid swings in relative humidity by expanding and contracting, and it is the speed of the change rather than the absolute level that causes cockling, warping, and cracking. Two practical rules follow. First, a crate that has traveled through a temperature change should be acclimated in the destination space before opening, typically 24 hours, so condensation forms on the crate rather than on the artwork. Second, for high value or long international transits, a sealed barrier with silica gel conditioned to the target relative humidity holds the internal environment far more stable than an unsealed crate. Miami work adds a specific consideration. Moving framed work between a conditioned interior and outdoor humidity, then into a conditioned gallery or residence, is three climate transitions in one day. The barrier and the acclimation step are not optional there. Working with Skyframe Skyframe builds custom crates and travel frames at our Hillside NJ factory and handles white glove delivery and installation across NYC, Miami, and beyond, for galleries, museums, luxury retailers, interior designers, and collectors. Crating, framing, and installation under one roof means the crate is built for the piece as it was actually framed. To discuss a crating or shipping project, visit www.skyframe.com or write to info@skyframe.com.
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Custom Framing in Miami: A Collector's Guide
Intro: Why Miami Framing Is Different Collectors in Miami should frame with conservation materials, UV filtering glazing, and sealed framing packages, because high humidity and intense light make the climate harder on artwork than most interiors elsewhere. Skyframe's Wynwood showroom serves collectors, designers, and hospitality groups across Miami, with production at a Hillside, NJ factory. Miami is one of the most active collecting markets in the country and one of the more demanding environments to keep artwork in. The same qualities that make the city appealing, light, water, open architecture, are the conditions conservation framing exists to manage. A framing specification that works comfortably in a Northeastern apartment is not automatically the right specification here. Skyframe has been framing since 1983, with a showroom in Miami's Wynwood district, a showroom in Chelsea, NYC, and a production factory in Hillside NJ, serving collectors, galleries, interior designers, and hospitality groups. Here is what the climate actually changes. Where do collectors in Miami get artwork professionally framed? Collectors in Miami should look for a framer that specifies conservation materials as the default, offers UV filtering glazing across the range, understands sealed framing packages, and can crate, deliver, and install. Wynwood is the practical center for collector and gallery framing in Miami, given the density of galleries and collections in and around the district. The evaluation criteria are the same anywhere: in house production rather than an outsourced workshop, depth of moulding library, conservation materials on every component rather than as an upsell. What Miami adds is a specific question worth asking directly, which is how the framer handles humidity, because a framer who has not thought about it will not raise it. Why does Miami's climate change the framing specification? Miami's climate changes the specification because sustained high relative humidity and intense ultraviolet light are the two environmental conditions most damaging to artwork, and Miami interiors deliver both. Humidity drives cockling in paper, warping in panel work, adhesive failure, and mold growth. UV drives fading that cannot be reversed. Humidity is the less obvious of the two. Paper and wood are hygroscopic, meaning they absorb and release moisture with the surrounding air and change dimension as they do. A work on paper in a high humidity environment expands, and if it is hinged or mounted in a way that does not allow movement, it buckles. The framing response is to hinge for movement rather than restrain the sheet, and to control what air the artwork is exposed to. The other Miami specific factor is transition frequency. Artwork routinely moves between a conditioned interior, outdoor humidity, and another conditioned interior in a single day, particularly during delivery and install. Each transition is a rapid change, and it is the speed of the change rather than the absolute level that causes damage. Miami Condition Risk to Artwork Framing Response Sustained high humidity Cockling, warping, mold, adhesive failure Sealed package, hinge for movement, spacers Intense UV and daylight Irreversible fading, embrittlement UV filtering glazing on every piece Frequent climate transitions Rapid dimensional change, condensation Acclimation before unpacking, barrier crating Salt air near the coast Corrosion of hardware and metal leaf Sealed backs, appropriate hardware selection Hurricane season Water intrusion, extended power loss Storage planning, elevated hanging where possible What is a sealed framing package and when is it needed? A sealed framing package encloses the artwork behind the glazing in a closed environment, with the frame's back sealed and the glazing edges taped, so the air immediately around the work changes far more slowly than the air in the room. It is the standard response to high humidity environments and to works with significant value. The construction adds a barrier layer at the back and a perimeter seal, sometimes with a conditioned buffering material inside the package. What matters practically is that a sealed package does not stop humidity, it slows the rate of change, and slowing the rate is the whole objective. Sealing is not appropriate in every case. A piece that is already carrying moisture, or that has any active mold, should be assessed by a conservator before being enclosed, since sealing a problem in makes it worse. For a clean, dry work going into a Miami residence or a hospitality space, it is the correct default. What glazing should Miami collectors use? Miami collectors should use UV filtering glazing on every framed piece without exception, and acrylic rather than glass for anything oversized, anything in a coastal or high traffic space, and anything that will travel. UV filtration is not an upgrade decision in this climate, it is the baseline. Beyond UV, the choice between conservation clear and anti-reflective museum grade depends on light conditions in the room. Miami interiors tend toward large windows and strong directional daylight, which is exactly the condition that turns uncoated glazing into a mirror. A piece opposite glass doors will be unreadable behind standard glazing for much of the day, which is a viewing problem rather than a preservation one, but it is the reason many collectors here specify anti-reflective as standard [VERIFY: UV filtration percentages for the glazing products Skyframe stocks]. Acrylic carries a second advantage in Miami beyond weight and safety. It is a better performer in humid environments than glass in the sense that it does not sweat with condensation in the same way during rapid temperature transitions, which matters during delivery and install. How should collectors protect artwork through hurricane season? Hurricane season planning should be done before a storm is named, and it comes down to three things: knowing what is on the walls, having somewhere to put it, and having someone who can move it. Water intrusion and extended power loss with no climate control are the two failure modes, and both are addressed by relocating work rather than by framing. Practical steps. Keep a current inventory with photographs and dimensions, since that documents condition and speeds any claim. Identify which pieces come down first and where they go, which for significant collections usually means climate controlled storage rather than an interior room. Avoid hanging important work on exterior facing walls or below window level where water enters. Framing plays a supporting role. A sealed package with a moisture barrier buys time during a power outage. Acrylic glazing removes the breakage hazard entirely. Neither substitutes for moving the work. Working with Skyframe Skyframe has been framing since 1983, with a Miami showroom in Wynwood, a Chelsea NYC showroom, and a production factory in Hillside NJ. We frame, print, crate, deliver, install, and store for collectors, galleries, interior designers, and hospitality groups, with conservation materials and more than 10,000 mouldings available. To visit the Miami showroom or start a project, go to www.skyframe.com or write to info@skyframe.com.
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The Artist Spotlight: Showcasing Talent with Skyframe's Bespoke Solutions
Discover how Skyframe's Artist Spotlight series elevates talent with bespoke framing and fine art printing. We empower artists to present their unique visions with the distinction they deserve, transforming mere display into a compelling narrative.
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Art Installations
Your Guide to NYC Art Week May 2026: 6 Fairs, One Week, Where to Go
6 fairs open across Manhattan between May 13 and May 19. A practical NYC art week guide to where to go, what to see, and how to plan your week. If You're Exhibiting Skyframe has been New York's framer for the trade since 1983, supporting galleries and exhibitors throughout NYC art week. From our Chelsea showroom, we are three blocks from Future Fair and four from The Shed. We handle custom framing, fine art printing, Plexi Mounting, and HD metal prints. We serve exhibitors at every fair on this list. Delivery to your booth and white-glove on-site installation are included. Schedule a Consultation → Request a Quote → View Our Work → 6 Fairs, One Week, Where to Go For one week in May, New York becomes the center of the art world. Between May 13 and May 19, seven major fairs open their doors across Manhattan. They range from emerging contemporary at the Starrett-Lehigh Building to museum-grade masterworks at the Park Avenue Armory. From our Chelsea showroom, we are three blocks from Future Fair and four from The Shed. We've been framing and printing for exhibitors at fairs like these since 1983. Here's our guide to where to go, what to see, and how to plan your week. The Fairs, in Order of Opening 1. Frieze New York: May 13–17 The Shed545 W 30th St, New York, NY 10001, USA Photo by Frieze New York Website The anchor of the week. Frieze brings together leading galleries from New York and around the world. Exhibitors present solo, dual, and themed shows across two floors of The Shed in Hudson Yards. The Focus section, curated this year by Lumi Tan, highlights emerging galleries through solo shows. It is historically one of the most rewarding sections to walk slowly. Insider note: Tuesday's invitation-only preview is the best day to see the work before it sells. Public hours open on Thursday. The Shed's location puts you a fifteen-minute walk from Future Fair and NADA — worth chaining together. Frieze New York→ 2. Future Fair: May 13–16 Chelsea Industrial 535 West 28th Street, New York, NY 10001, Photo by Future Fair Website Now in its sixth year, Future Fair has a reputation as the most collaborative of the week's fairs. Galleries share booth space, programming runs late, and the work skews toward emerging and mid-career artists. The Chelsea Industrial venue keeps everything compact and walkable. Insider note: The fair closes Saturday, a full day before the rest. If you're prioritizing, see Future Fair first. Future Fairs → 3. NADA New York: May 13–17 The Starrett-Lehigh Building601 W 26th Street, 3rd Floor, New York, NY 10001 Photo by NADA website The 12th edition of NADA returns to Starrett-Lehigh with 121 galleries from 15 countries. The roster includes 45 NADA members and 53 first-time exhibitors. NADA is the discovery fair. Lower booth fees mean younger galleries, smaller editions, and prices that often start in three figures. They usually start in three figures rather than six. Insider note: Go on Saturday or Sunday when the gallerists have time to talk. The TD Bank Curated Spotlight, organized this year by Anthony Elms, is worth seeking out first. New Art Dealers → 4. Independent New York: May 14–17 Pier 36299 South Street, New York, 10002 Photo by Independent Website Independent has always been the most curated of the major fairs. Exhibitors are selected rather than juried, and the layout favors solo and two-person presentations. It avoids standard booths. Pier 36's open floor plan gives the work room to breathe. It is worth the trip downtown. Insider note: The light at Pier 36 in late afternoon is some of the best this week. It is among the best you'll see at any fair. Independent Art Fair → 5. TEFAF New York: May 15–19 Park Avenue Armory643 Park Avenue, New York, NY 10065 Photo by TEFAF website The week's most rigorous fair. TEFAF's vetting committee inspects every work before the doors open, which keeps the bar high. Cycladic antiquities might sit just two booths from a de Kooning. The 2026 edition welcomes back Hauser & Wirth, Pace, Lévy Gorvy Dayan, and Berggruen. It also includes nine first-time exhibitors, including Galerie Lelong. Insider note: TEFAF is the only fair the Armory permits to activate the upstairs period rooms. These Gilded Age interiors are worth the visit alone. tefaf.com → 6. The American Art Fair: May 16–19 Bohemian National Hall321 East 73rd Street, NYC Photo by The American Art Fair website The week's specialist fair. American Art Fair celebrates its 19th edition with 18 dealers focused exclusively on American 19th- and 20th-century art. Expect names like Sargent, Henri, Chase, and Hartley. The Bohemian National Hall on the Upper East Side keeps the atmosphere intimate. It feels closer to a curated exhibition than a fair. Insider note: The lectures program, free with admission, is a serious draw. If you collect American art seriously, plan a Saturday or Sunday afternoon around the talks. The American Art Fair → Planning Your Week by Neighborhood West Chelsea cluster (Wed–Sun): Frieze, Future Fair, NADA, 1-54 — all within a fifteen-minute walk of each other. A single day covers four fairs. West Chelsea cluster (Wed–Sun): Upper East Side (Fri–Tue): TEFAF at the Park Avenue Armory. Then The American Art Fair at Bohemian National Hall, twenty blocks north. Best paired with auction previews at Sotheby's, Christie's, and Phillips. Lower Manhattan (Thu–Sun): Independent at Pier 36. The downtown outlier, but worth the trip — and an easy combination with the Lower East Side gallery district. See you on the floor. Skyframe Chelsea, NYC · Hillside, NJ · Miami, FL
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7 Ways NYC Art Galleries Prepare Exhibitions & Installations
NYC art galleries operate in one of the most competitive exhibition environments in the world, where presentation, protection, and precision are essential. Behind every successful exhibition is a detailed preparation process—one that ensures artwork is protected, displayed correctly, and installed with precision. Here’s a behind-the-scenes look at how NYC galleries prepare artwork for exhibitions and installations. 1. Artwork Assessment & Planning Before any framing or printing begins, galleries start with a detailed evaluation of each piece: Medium (photography, painting, mixed media, sculpture) Size and weight Fragility and conservation needs Display environment (lighting, wall type, traffic flow) This step determines everything that follows—from framing materials to installation hardware. 2. Selecting the Right Framing & Materials Framing for exhibitions isn’t just aesthetic—it’s functional and archival. NYC galleries typically prioritize: Museum-quality frames that complement the artwork without distracting from it Archival matting and backing to protect pieces long-term UV-protective glazing to reduce light damage Custom frame profiles for non-standard or oversized works Consistency is also key. Exhibitions often require multiple pieces to feel cohesive across an entire space. 3. Professional Printing for Exhibitions For photography and digital artwork, print quality is non-negotiable. Galleries focus on: High-resolution, color-accurate printing Fine art and photographic papers are suited to the work Consistent output across editions or series Large-format capabilities for statement pieces Proper printing ensures that what viewers see on the wall matches the artist’s original vision. 4. Crating, Transport & Handling Once artwork is ready, logistics become critical—especially in NYC. Professional preparation includes: Custom crating or protective packaging Safe transport through city streets and freight elevators Careful handling during load-in and load-out Coordination with building requirements and schedules This step minimizes risk and keeps exhibitions on time. 5. White-Glove Installation Installation is where preparation meets execution. Experienced installers handle: Accurate measuring and layout Level, secure mounting Specialized hardware for heavy or oversized pieces Adjustments to lighting and spacing on-site The goal is simple: artwork should feel effortless on the wall—even though the process behind it is anything but. 6. Why NYC Art Galleries Partner With Full-Service Exhibition Teams Many NYC galleries work with full-service production partners to streamline the entire process—from print to install. Benefits include: Fewer vendors to manage Consistent quality across all stages Faster turnaround times Clear accountability At Skyframe NYC, galleries rely on a single team for fine art printing, custom framing, crating, delivery, and installation—ensuring every exhibition is handled with care and precision. Preparing for Your Next Exhibition Whether you’re planning a solo show, group exhibition, or traveling installation, preparation makes all the difference. Investing in proper materials, professional handling, and experienced installation ensures artwork is displayed exactly as intended—and protected long after opening night. If you’re preparing an upcoming exhibition in New York City, working with a team that understands gallery standards and timelines can make the process seamless from start to finish. 7. Exhibition Standards Don’t Change by Location For galleries working across multiple cities, consistency matters just as much as craftsmanship. Whether an exhibition is opening in New York or traveling to another market, the same standards for printing, framing, handling, and installation apply. That’s why many galleries choose production partners who operate across regions—so materials, processes, and presentation remain consistent from one location to the next. At Skyframe, that same full-service approach is available beyond New York. Our teams support exhibitions in multiple markets, including Miami, offering the same attention to detail across printing, custom framing, crating, delivery, and installation. 👉 Learn more about our full-service printing, framing, and installation in Miami. Planning an upcoming exhibition or art installation? Schedule a consultation with our team to ensure your artwork is handled, installed, and presented with care. Book a Consultation
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Skyframe Services for Hamptons Fine Art Fair Exhibitors 2025
The 19th annual Hamptons Art Fair is right around the corner, on July 10-13, showcasing some of the best contemporary and modern art in one of the most iconic summer destinations. With over 130 galleries, collectors, and designers in attendance, this four-day fair is the ultimate opportunity to showcase your work in front of a high-end audience. As the excitement builds, Skyframe is proud to partner with participating galleries and artists to provide reliable, expert support in presentation—because how your art is displayed matters just as much as the art itself. We are here to help your booth stand out, tell a story, and leave a lasting impression on both collectors and curators alike. From last-minute deliveries to booth ready installations, the Skyframe team is here to make sure your art is displayed at its absolute best. Why Skyframe? Skyframe has been a trusted name in New York City’s art community for over 30 years. Our work appears in museums, galleries, corporate collections, and private homes around the country. But it’s our personalized service, attention to detail, and deep respect for the art itself that keeps clients coming back. We understand how to meet the high standards of the fine art industry, and as the days to the fair approach, we know that the logistics can be stressful. That is why we offer full service support to our clients from start to finish. Our team is efficient, professional, and ready to assist wherever and whenever, from custom built frames to on-site installation. Services Available to Art Galleries and Artists Showcasing at the FairCustom Framing Skyframe offers museum-quality custom framing with over 10,000 different frame styles in stock—from clean, minimalist profiles to gallery-quality classics. No matter the style or aesthetic, we can assist in finding the right profile and finish to elevate each piece. Our experts can help you choose the right materials, from UV-protective glazing to acid-free mats and backing. All framing is done with care and precision, ready for the perfect gallery display. Fine Art Printing Our fine art printing studio uses the highest-quality archival printing technology to bring your work to life. From color-matched photographic prints to textured art reproductions on canvas, we produce prints with unmatched precision and tonal depth. From the first proof to final print, our experts work to meet your exact artistic vision. We understand the importance of accuracy and craftsmanship—especially when preparing for high-profile events like the Hamptons Fine Art Fair.Weekly Deliveries to the HamptonsSkyframe is already delivering to the Hamptons every week, so your last minute needs can be covered. We understand the unique logistics of East End events and are committed to providing reliable, timely service with every shipment.Whether you're sending a single piece or an entire booth's worth of artwork, our delivery team ensures your work will arrive safely, on time, and installation-ready. Special Offer: 15% OFF for Exhibitors As a thank you to the artists and galleries exhibiting at the 2025 Hamptons Fine Art Fair, Skyframe is offering an exclusive 15% off custom framing and fine art printing services related to the show. This discount is available only to those showcasing at the fair. Simply mention your participation in the fair when placing your order and we will do the rest!Ready to Elevate your Display? Whether you need framing for a future piece, a last-minute reprint, or an installation, Skyframe is here to help your art shine. Reach out today to schedule your order or book a delivery. Get noticed. Stay professional. Be prepared. Let's get you art show ready! Contact us
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