Buy a cave; live there for the rest of your life. Allow no one to see your art– ever. In your will, leave directions to where your art is hidden, so that someone somewhere can show and sell it once you’ve transitioned to the great beyond.

Yes, but only if you make talking art. Otherwise, you have to speak (or write) for it– contextualize it– so that viewers can better understand and appreciate what you’re doing. It’s like the difference between watching a play with actors dressed in street clothes on a stage with no set, and then watching the same play with actors in full costume and the stage completely set. The script is identical in both cases, but your depth of understanding and immersion in the experience is far greater with one than the other.

This is a complete total utter consummate waste of money– and the art world’s version of spam. You have no idea how the mailing list was assembled, what kinds of galleries these are, what kinds of art they deal in, whether your art is even remotely right for them, etc. etc. etc. Would you walk up to a total stranger and ask him to buy your art? That’s basically what you’re doing with galleries when you buy mailing lists. Galleries get these kinds of random intergalactic inquiries all the time. What makes you think they’re going to look at yours when they throw all the others in the trash?

The money went to charity, not to your art. Charity auction selling prices generally have little to do with the value of what’s being sold– items sell way too low and way too high all the time. Many people who bid at charity auctions see it like this– they donate money they intend to donate anyway, except when they donate it at an auction, they get free stuff in return (aka your art).

Not really. About the only time you do that is when someone who understands art history asks. Most people don’t know enough about art history to fill a thimble. And of the few who do know, most can figure out where your art fits in for themselves. What they want to hear is your story– why you’ve dedicated your life to making art, how you’ve chosen to express yourself through your art, how you make your art, why it looks the way it does, what it represents, and how it conveys your commitment, beliefs, feelings, and opinions. A good honest story trumps an arcane disquisition on art history approximately 100% of the time.

If you send your art to galleries you don’t know or who don’t know you or who aren’t familiar with your work, this won’t be productive and chances are slim that ever you’ll get a show. Or if you send your art to out-of-town galleries without first establishing a local or regional profile, this likely won’t be productive either. You have to network in your community, target specific galleries, make sure they sell art that’s similar to yours, and be able to state clearly and concisely why your art is right for them.

Let me ask you a question. If you’re in a band that plays local bars and nightclubs, should you try to get a gig at Madison Square Garden? The art world is like anywhere else. You work your way up; you don’t skip steps.

I’ll answer your question with a question. How often do you see a solo show at a good gallery where all the art is different? In one way or another, everything’s related– variations on a theme, you might say– either unified by the show statement, the appearance, or some other variable. You see, what happens when you throw a miscellany of artwork onto your website is that you confuse people. They can’t figure out what you stand for or get a coherent grip on where you’re going or what you’re saying. And confused people don’t buy art. It’s like walking into a store and seeing that they sell bananas, handbags, motor oil, and dog grooming supplies. You take one look, turn around, and walk right back out.