Comics on Walls: Why Exhibiting Sequential Art is a Battle for the Medium's Soul

How do you exhibit comics? It’s a question that cuts to the heart of the medium, one panelists grappled with at London’s ARC Contemporary Comics Festival. For creators and curators, the challenge isn’t just about putting art on a wall, but preserving the unique, tactile experience of a comic in hand.

Curator Paul Gravett, a legendary figure often called the 'Man At The Crossroads' of comics, highlighted the struggle. He found a recent Pompidou gallery show missed the point entirely. How can visitors truly engage with sequential art plastered to a wall, rather than turning pages? Olivia Ahmad, co-curator of the acclaimed Queer as Comics exhibition, echoed this. She questioned what comics gain by being exhibited at all.

Yet, all agreed on the power of the gallery. Gravett emphasized the "haptic" aspect, ensuring physical copies – even rare ones – were available for readers. iPads offered digital access. Ahmad cherished watching people read comics together, a rare communal experience. Kat Chapman, who curated Harrogate’s recent show, saw exhibitions as a vital entry point. She received notes from attendees who bought their very first comics. For newcomers, she found a glossary of comic terminology crucial. This kind of outreach matters.