The global art market has undergone significant changes following President Donald Trump's comprehensive tariff package announced on April 2, 2025, as part of what he termed "Liberation Day." While artworks remain largely exempt from these new trade duties, the ripple effects have created unprecedented challenges and adaptations throughout the international art collecting community.
Trump's tariff strategy includes a baseline 10% tax on nearly all imports, with reciprocal tariffs reaching as high as 50% on goods from more than 60 countries. The policy has triggered retaliatory measures from U.S. trading partners and ongoing negotiations for reduced rates. On August 1st, Trump expanded tariff rates to over 90 countries that had failed to reach updated trade agreements with the United States.
Despite the broad scope of these trade measures, artworks maintain their exempt status under the tariff regulations. According to a White House fact sheet issued on April 2nd, items listed in 50 USC 1702—including artworks, photographs, and posters—are not subject to reciprocal tariffs. However, contemporary artworks from China now face higher duty rates, marking the sole exception to this protection, according to art shipping logistics firm Convelio.
The exemption comes with important caveats that are causing concern among dealers and collectors. U.S. Customs and Border Protection retains ultimate authority over import classifications and can revoke exemptions at their discretion. Categories such as antiques, collectible design objects, and works incorporating mixed materials like metal or wood may not receive the same protection as fine artworks, creating new financial and operational challenges.
"There are certain materials that some artworks have which can make them more susceptible to tariffs," explained Juan Carlos Arcila-Duque, founder of The Art Design Project in Miami. His gallery encountered unexpected customs issues with a work containing mother-of-pearl in its materials. "Everybody is nervous when they're trying to follow the rules of checking [customs]," he added.
Design objects have emerged as the most problematic category under the new tariff structure. The U.S. government's Harmonized Tariff Schedule defines artwork by factors including originality, artistic intent, and market perception, requiring items to be either original or limited edition works with primarily aesthetic purposes. Design pieces such as sofas, cupboards, and cabinets occupy a gray area between artistic pieces and functional items, making classification more complex.
Convelio uses the example of a famous Sheep Bench by François-Xavier and Claude Lalanne, the French artist duo known for surreal design works. Such pieces qualify for duty-free entry if documentation demonstrates they are unique editions with primarily artistic purposes and were sold by reputable galleries.
Shipping timelines and logistics have become significantly more complex under the new tariff regime. "The details that are needed are so exact—if you imagine, every single shipment has to have this level of detail, this level of scrutiny, this level of description... it's just taking so much more time," said Tom Burns, COO at fine art storage firm Fortress.
Burns noted a fundamental shift in shipping practices since the tariff implementation. Previously, customs paperwork could be completed while artworks were in transit with minimal complications. Now, "nothing's getting shipped until the paperwork is exactly right," he explained. Several galleries report that documentation requirements have practically doubled, creating direct impacts on their logistics teams.
"The amount of paperwork involved in each shipment has practically doubled. That has a direct impact on our logistics team," said Isabela Milagre, founder of New York gallery Bossa. Her gallery has hired an additional assistant specifically to manage the increased documentation burden. Milagre emphasizes that "in international shipping, documentation is everything," advising collectors to work with galleries that understand shipping regulations and can provide transparency.
The increased complexity has led to a noticeable decline in international collectors purchasing works requiring transport to or from the United States. Many collectors are seeking greater clarity regarding specific duties and costs they may incur. "Collectors are more strategic," observed art advisor Peter Bentley Brandt. "They're less impulsive, more attuned to logistics and risk."
Despite these challenges, collector interest in international art remains strong, albeit more cautious. "Collectors are still okay with buying something internationally—if they're willing to wait, and it's kind of a one-off," Burns noted. "They're willing to go through a little bit of heartache to get a piece that they really want."
Industry professionals recommend that collectors seek guidance from experienced market players who have been closely tracking tariff implications. "We're all looking for more guidance and understanding," said Burns. "One thing that works well for everyone is for logistics people like myself, collectors, dealers, and galleries to all be on the same page."
Bentley Brandt advises collectors to ask crucial questions, chief among them: "Where is the work now?" He explains that the market has "shifted from reacting to tariffs to preemptively positioning works where they are least exposed." The overall mood reflects greater caution, with collectors "asking not just what to buy, but where it is and how it moves."
As tariffs become an established aspect of international trade, the art market continues adapting to these new circumstances. Industry experts counsel collectors to remain prudent while navigating this evolving landscape. "Volatility hasn't diminished passion—it's refined it," Bentley Brandt observed, suggesting that while the market faces new challenges, fundamental collector interest in international art remains resilient.
