When artists need to ship artwork internationally, the process is rarely something they handle alone. In most cases, the gallery manages the process — working with a specialist art shipper they have an ongoing relationship with, coordinating logistics for art fairs through designated carriers, and handling customs documentation as part of standard operations. But for emerging artists without gallery representation, or for anyone sending work abroad for a residency, an open call, or a small exhibition, knowing how international art shipping actually works is genuinely useful. This guide is based on how galleries and professional art shippers approach the process — applied to the situations where artists need to manage it themselves.
1. Who Manages Art Shipping — and When Artists Do It Themselves
Understanding who typically manages art shipping helps clarify when you actually need to handle it yourself.
When a gallery is involved, the gallery manages shipping. Most established galleries have long-term relationships with specialist art shippers — companies like Crozier Fine Arts, Uovo, Dietl International, or Hasenkamp — and coordinate directly with them for exhibitions, sales, and art fairs. The artist’s role is typically limited to following the shipper’s packing instructions and being available for pickup. Artists rarely choose the carrier or pay shipping costs directly when a gallery is handling a consignment or exhibition.
For art fairs, the situation is even more structured. Major fairs including Art Basel, Frieze, and NADA designate official shipping partners. Participating galleries are expected to use these carriers, who manage the logistics of getting work into and out of the fair venue, including installation and deinstallation in many cases.
Artists typically manage shipping themselves in three situations: sending work to a residency program, submitting to an open call or international competition without gallery support, or hand-carrying smaller works on a flight. This guide focuses primarily on these scenarios — but the methods and standards used are drawn from professional gallery practice, which is the right benchmark regardless of scale.
2. Before You Ship — What to Confirm First
Before choosing a carrier or building a crate, confirm the following.
Size and weight of the work. In the US, standard paper sizes are based on the Letter format (8.5 x 11 inches) rather than A4. The dimensions and weight of the work determine which carriers are viable and what the approximate cost will be. A small print and a large canvas require fundamentally different approaches.
Purpose of the shipment — sale or temporary export. Whether work is being shipped for sale or for temporary exhibition abroad affects how customs documentation is prepared. Work being exported temporarily — for a residency or exhibition where it will return — can often travel under an ATA Carnet, which is an international customs document that allows goods to cross borders without paying import duties. In Korea, ATA Carnets are issued through the Korea Chamber of Commerce and Industry.
Customs regulations in the destination country. In the United States, works valued above $2,500 require formal customs entry documentation. European Union countries may apply VAT to imported artworks depending on the circumstances. Regulations vary significantly by country, and confirming the requirements before shipping — rather than discovering them at the border — will save significant time and money.
For a broader overview of costs involved in studying or working as an artist in the US, see our guide to how much art school costs in the US.
3. Specialist Art Shippers vs General Carriers
Specialist Art Shipping Companies
The companies that galleries and museums use for international art shipping operate at a fundamentally different level from general carriers. The leading companies include the following.
Crozier Fine Arts is one of the largest specialist art storage and shipping companies in the US, with facilities in New York and New Jersey. It is widely used by galleries, auction houses, and institutions across the country and internationally.
Uovo is a New York-based company specializing in climate-controlled storage and white-glove shipping for high-value works. It is used extensively by collectors and galleries handling significant collections.
Dietl International is a Germany-based company with strong operations across Europe and the US, particularly experienced in art fair logistics and museum-to-museum loans.
Hasenkamp is one of Europe’s largest art logistics companies, offering the full range of services from custom crating through to installation and climate-controlled transport.
What these companies offer that general carriers do not: custom crating fabricated to the specific dimensions and fragility of each work, climate-controlled vehicles and storage, white-glove handling from collection through to installation, and specialist insurance coverage. The cost is substantially higher than general carriers — but for works of significant value or fragility, the difference is not optional.
General Carriers — FedEx, DHL, UPS
For smaller works — prints, drawings, photographs, and works on paper — general carriers are a practical and cost-effective option. FedEx International Priority and DHL Express both offer reliable tracking and relatively fast transit times for international shipments.
Estimated costs from Seoul to New York for a small package under 5kg: FedEx International Priority runs approximately $150 to $300 depending on dimensions and service level. DHL Express is typically comparable, ranging from $130 to $280 for similar packages. These figures change with fuel surcharges and dimensional weight calculations, so always get a quote before committing.
The important limitation with general carriers is liability coverage. The standard declared value coverage offered by FedEx and DHL is limited and will not reflect the actual market value of most artworks. Separate insurance is not optional — it is essential. More on this below.
4. Shipping Options by Work Size
| Work Type | Recommended Carrier | Estimated Cost (Seoul–New York) |
|---|---|---|
| Small works on paper, prints (under 5kg) | FedEx, DHL | $130–$300 |
| Medium canvas, small sculpture | General carrier with custom crate, or specialist shipper | $500–$2,000+ |
| Large canvas, installation, large sculpture | Specialist art shipper only | $2,000–$10,000+ |
For large works, sea freight is significantly cheaper than air freight but adds four to six weeks of transit time. If the exhibition or residency timeline allows for it, sea freight via a specialist shipper is worth considering for large-scale work.
For artists preparing to participate in a residency program abroad, understanding shipping costs in advance is an important part of financial planning. See our guide to how international art students actually afford living in the US for a broader breakdown of what to budget for.
5. Packing Standards
Packing is where most damage occurs, and it is the area where professional standards matter most. The approach used by specialist shippers is the right benchmark, even for smaller shipments handled independently.
Works on Paper and Framed Works
For framed works with glass or acrylic, apply masking tape in an X pattern across the glazing surface — this prevents glass from scattering if the frame is broken during transit. Wrap the work in glassine or acid-free tissue paper first, then in bubble wrap. Place the wrapped work in a box with sufficient padding on all sides to prevent movement. The work should not shift inside the box when you shake it.
Canvas Works
Cover the painted surface with glassine or acid-free tissue paper before any other packing material touches it. Wrap in bubble wrap and protect the corners with corner guards. For larger canvases, a custom wooden crate is the appropriate solution — the interior should be lined with foam or air-cushion material to prevent any movement during transit. Canvases should never be rolled unless the work was specifically made to be rolled.
Three-Dimensional Work and Sculpture
Sculpture requires custom packing designed around the specific form and fragility of the work. Identify the most vulnerable points first — protruding elements, thin sections, areas of surface detail — and address those specifically before packing the overall form. Professional shippers fabricate custom foam interiors for sculpture crates that hold the work completely immobile during transit. For complex or high-value sculpture, this level of custom crating is not a luxury — it is the standard.
6. Customs Documentation
Commercial Invoice
Required for all international shipments. The invoice must include a description of the work, the quantity, the declared value, the year of creation, and the materials used. The declared value should reflect the actual market value of the work — undervaluing artwork on a customs declaration is illegal and can result in seizure, fines, or complications with insurance claims.
ATA Carnet
For work being exported temporarily — to an exhibition, art fair, or residency from which it will return — an ATA Carnet allows the work to cross international borders without paying import duties. This is the standard document used for art fair shipments and temporary exhibition loans. In Korea, ATA Carnets are issued through the Korea Chamber of Commerce and Industry. The application requires a description of the work, its value, and confirmation of the export and return timeline.
Appraisal Documentation
For high-value works, an appraisal from a qualified appraiser is useful both for customs and for insurance purposes. If a claim needs to be made, having an independent valuation of the work before shipment significantly simplifies the process.
7. Insurance
Insurance is not optional when shipping artwork internationally. The declared value coverage included in standard carrier shipments is limited — typically covering only a fraction of the actual value of most artworks — and the claims process for damaged goods through general carriers is notoriously difficult.
Specialist art shippers typically carry comprehensive fine art insurance that covers works in their care from collection through delivery. For shipments handled through general carriers, a separate fine art insurance policy is necessary. Premiums typically run between 0.5% and 1% of the declared value of the work — for a work valued at $10,000, that is $50 to $100 for the duration of the shipment, which is a small cost relative to the risk.
If you are working with a gallery, confirm whether the gallery’s existing policy covers works in transit before assuming you need separate coverage. Most established galleries carry blanket fine art policies that include works on consignment and in transit. According to Res Artis, the global network of artist residencies, many residency programs require participating artists to carry their own transit insurance for work brought to the program — so confirming insurance requirements with the receiving institution before you ship is always worth doing.
If damage occurs, document it immediately — photograph the packaging before opening it, photograph the damage before moving the work, and notify both the carrier and the insurer the same day. Delayed reporting complicates claims significantly.
Frequently Asked Questions — Shipping Artwork Internationally
Can I carry artwork on a plane as hand luggage or checked baggage?
Small works on paper, prints, and unframed works can often be hand-carried on a flight — either as carry-on in a flat portfolio case or as checked luggage in a well-padded tube or flat box. Airlines have varying policies on artwork as checked baggage, and fragile or high-value work should be insured separately regardless. For anything larger than what fits comfortably in a carry-on, shipping through a carrier is the more practical option.
How far in advance should I arrange international art shipping?
For general carrier shipments of small works, one to two weeks is usually sufficient. For specialist art shippers handling custom crating and complex logistics, four to six weeks is a more realistic minimum — and for art fair shipments, the fair’s own logistics coordinator will set deadlines that need to be followed exactly. For sea freight, add at least four to six weeks of transit time on top of the preparation period.
What is the difference between air freight and sea freight for artwork?
Air freight is faster — typically three to seven days for international shipments — but significantly more expensive, particularly for large or heavy works. Sea freight takes four to six weeks or more but is substantially cheaper for large shipments. Most gallery-to-gallery shipments and art fair logistics use air freight for time-sensitive reasons. Sea freight is worth considering for large works where the receiving timeline is flexible enough to accommodate the longer transit.
What happens if my artwork is damaged during shipping?
Document the damage immediately and thoroughly — photograph the packaging before opening, photograph the work in the damaged state, and retain all packaging materials, as carriers and insurers may request to inspect them. Notify the carrier and your insurer the same day. If the work was shipped through a specialist art shipper, contact them directly — they have established claims processes for exactly this situation. General carriers have more limited liability and more complicated claims processes, which is the primary reason separate fine art insurance is essential for any shipment of value.
Shipping artwork internationally involves real complexity — customs regulations, carrier selection, packing standards, and insurance all require attention before anything leaves the studio. The standards used by galleries and specialist art shippers exist because they work: custom crating, proper documentation, and appropriate insurance coverage are not excessive caution, they are the baseline for moving work across borders safely. Whether you are sending a print to a residency in Maine or coordinating a larger shipment for an overseas exhibition, the same principles apply at every scale.