Build the Business Model for a Travelling Contemporary Art Show Across Secondary Cities

Almost every significant contemporary African art exhibition happens in Lagos, with occasional stops in Abuja. The infrastructure assumptions baked into this, corporate sponsors headquartered in Lagos, art buyers living in Ikoyi and Victoria Island, international curators flying into Murtala Muhammed Airport, mean that artists and audiences in other parts of Nigeria remain systematically outside the conversation. This is not a question of taste or demand. Benin City has a living bronze-casting tradition that predates the British invasion of 1897. Enugu has a growing creative class with limited institutional support. Kano has textile artists and calligraphers who rarely exhibit outside of trade contexts. The gap is logistical and financial, not cultural. Your deliverable is a full business model canvas plus a 12-month operational plan for one touring season. The business model should identify realistic revenue streams: ticket sales, local government arts funding, regional corporate sponsorship (not just Lagos-based multinationals), artist commissions, and any earned income from programming. The operational plan should address venue identification, freight and installation logistics across road and rail, and a staffing model that does not require a permanent Lagos-based team to run everything remotely. Strong submissions will have done at least three pieces of secondary research: look at what the Ake Arts and Book Festival achieved in Abeokuta as a non-Lagos model, examine how the Zeitz MOCAA touring programme operates, and find one case study from another African country where art has successfully toured secondary cities. Your numbers do not need to be exact, but they need to be grounded.