01
Who we are
ArtScope is operated by ArtScope LLC ("ArtScope", "we", "us"). We make
software that galleries, museums and other institutions use to publish exhibits, which
visitors then browse by scanning a code at the venue.
These terms are a contract between you and ArtScope LLC. They cover the ArtScope marketing
site at artscope.io, the visitor-facing exhibit app, and the gallery-facing app.
They apply to four different groups, and which sections bind you depends on which you are:
exhibit visitors, galleries and museums (the account
holders, whom these terms call "galleries" throughout, institutions included),
buyers, and artists applying to open calls.
How we handle personal information is not in this document. It is in our
Privacy Policy, which forms part of these terms.
Where the two touch the same subject they are written to agree; if they ever conflict, the
Privacy Policy governs on privacy.
02
The short version
The detail below is what binds. This is the honest summary of it.
-
We are a party to the sale, not a bystander. When you buy a piece
through ArtScope, we own the checkout page, the receipt and any dispute, and we keep a
commission. Section 5 explains exactly what that means.
-
Card payments run on Stripe, and only on Stripe. A gallery can connect
a PayPal account, but no buyer can pay through it today.
-
The gallery owns the art, the descriptions and the relationship. We
display them under a licence you give us, and you can take an exhibit down.
-
A gallery account is one login shared by your staff. Anything done with
it is done by you. Section 7.
-
We ask you to accept these terms, and we record which version. At gallery
signup, on an open-call application, and at checkout. Not for browsing an
exhibit — reading the art agrees to nothing. Section 3.
-
Free for institutions under 1,000 guest sessions a month, and nothing
switches off if you go over — we talk to you. Section 11.
-
We can suspend an account, and today we cannot delete one. We would
rather say so than promise otherwise. Section 17.
03
Agreeing to these terms
This document carries a version, printed under the title at the top of the page:
2026-09-08. Wherever we ask you to accept these terms, what we record is
that version, so that later on there is an answer to "which terms, exactly?" rather than a
date and a hope.
Where we ask, you tick a box and we keep the record
These terms are accepted with a tick box, at three moments and no others. Where you see that
box, this is what ticking it does:
-
Opening a gallery account. The person creating the account accepts these
terms and the Privacy Policy at signup, and
again whenever we publish a new version of them. We record who accepted, when, and which
version.
-
Applying to an open call. The applicant accepts these terms and the
Privacy Policy on the application form. That acceptance is stored on the submission
itself, so it stays attached to the work it covers — section 12.
-
Buying a piece. The buyer accepts these terms at checkout, before any
payment is taken, and the acceptance is recorded on the order — section 5.
Where we have not put that box in front of you, you accept these terms by
doing the same things: creating or using a gallery account, publishing an exhibit,
submitting an open-call application, or buying a piece. We are not going to describe a
click you did not make. Where the box exists, the record is what we rely on; where it does
not yet, this sentence is.
Browsing an exhibit is not acceptance
If you scanned a code at a venue and are reading an exhibit, you are not agreeing to
anything by reading it. We do not put a legal gate between you and the art, and we
do not treat a visit as acceptance of a contract. Section 16 still sets out what we ask
of anyone who types into a guest book, an enquiry or a comment, and
the Privacy Policy sets out what we record about
the visit itself — that one is worth reading, and it is a disclosure we owe you rather than
an agreement we are asking for. If you go on to buy a piece, that is the point at which you
are asked to accept, and section 5 is what you would be accepting.
Accepting on behalf of a gallery
If you accept on behalf of a gallery, museum or other organisation, you confirm that you are
authorised to bind it, and "you" means that organisation from then on. That confirmation
carries more weight here than it usually does, because an ArtScope gallery account
is a single shared credential rather than one login per member of staff
(section 7). There is no second, per-person acceptance behind it: one person's tick is
the whole of the institution's acceptance, and everything done with the account afterwards
is done by the institution.
Age
You must be at least 13 years old to use ArtScope, and old enough to enter
a contract in your country to hold an account or buy a piece. We do not verify anyone's age
and we have no way to. Exhibits are published in public venues that school groups visit, and
we ask galleries to bear that in mind in what they publish.
Open — galleries that were already here
Every gallery on ArtScope before this version signed nothing, because until now there was
nothing to sign: no checkbox existed at signup, at publishing, at checkout or on the
open-call form, and no acceptance was recorded anywhere. A re-acceptance step is being
built for them, in the product, on next sign-in.
What has not been decided is whether that ask is only an in-product one, or is
also sent by email with a period after which continued use counts as acceptance — and
whether it blocks the whole application or only publishing and selling. This section is
drafted to be true under any of those choices; the choice itself is not ours to make in a
document.
04
If you are visiting an exhibit
You do not need an account, and we do not ask you for one. You scan a code, the exhibit
opens, and you read. You may also sign a guest book, send an enquiry to the gallery, leave a
comment on a piece, download a catalogue, read the exhibit in another language, and — where
the gallery has set it up — point your camera at a piece to identify it.
The exhibit belongs to the gallery, not to us. What is shown, what it says,
what a piece costs and whether it is available are the gallery's, and questions about any of
it go to them.
When you type something into a guest book, an enquiry or a comment, it goes to the gallery
and we hold it for them. Keep it lawful and keep it civil, and do not submit anything you do
not have the right to submit. We may remove anything that breaks section 16.
We record what you look at in an exhibit and link those actions together under a visitor ID
stored in your browser. That is described in full — including its limits, and how to object
— in the Privacy Policy, sections 3
and 4. We are pointing at it here rather than summarising it, because it is the part of
ArtScope a visitor is most likely to want to read properly.
05
If you buy a piece
In plain terms: we are not a bystander
The most important thing in this document
When you buy a piece through ArtScope, the payment is taken on our Stripe
account and passed on to the gallery, less a commission we keep. In Stripe's terms it is a
destination charge with a platform fee.
The practical consequence: we own the checkout page, the receipt and the
dispute. If you charge the payment back, it is charged back against us. That is a
stronger position than "we pass you through to a payment provider", and the terms we
published in 2024 said the opposite. They were wrong.
How a purchase works
You give us your name, email address and phone number, and a delivery address if the piece
is being shipped rather than collected. We create the order, then send you to
Stripe's hosted checkout page to pay. Your card details are entered on
Stripe's page and go to Stripe; they never reach us. Stripe sends the card receipt.
Stripe is the only way to pay. A gallery can connect a PayPal account to
ArtScope, but there is no working PayPal checkout and no buyer can pay through it. Where
another page says otherwise, this section is the one that is correct.
Open — two live pages contradict the paragraph above
Our /galleries and /museums pages both tell buyers that payments
run on Stripe and PayPal. That is the same error as the 2024 terms, on pages a
buyer is more likely to read than this one. The copy sits in the marketing repo rather
than here, and it should be corrected in the same pass that publishes these terms.
Prices are set by the gallery, in the currency the gallery chose. The gallery is responsible
for the accuracy of everything about the piece — its description, condition, provenance,
dimensions, availability, and whether they have the right to sell it. The contract of sale
for the artwork itself is between you and the gallery.
Disputes
Ask the gallery first. They hold the piece, they arranged the delivery or collection, and
almost everything that goes wrong is faster to fix with them.
But because the charge is ours, you can also come to us, and we will not
tell you it is nothing to do with us. Write to
support@artscope.io. Your rights against your card
issuer are unaffected by anything in this document.
06
Refunds and cancellations
Art is usually sold as a single unique piece, and a gallery's own policy on returns is
theirs to set and to tell you before you buy. Ask them, and ask before you pay.
Where the law gives you a cancellation or return right — for example a distance-selling
right in the UK or EEA — you have it regardless of anything the gallery or we say.
For exhibit publishing, which is a product we sell to galleries rather than
an artwork, our position today is that purchases are final once the exhibit is published.
See section 9.
Open — the refund position on art sales is not settled
There is no refund mechanism in ArtScope. No part of the product reverses a sale, returns
a commission, or refunds a buyer; a refund today is something a person does by hand in
Stripe. The only refund statement anywhere in the product covers exhibit publishing, not
artwork.
This matters more here than it would on a normal marketplace, because we own the dispute
(section 5). Four things need deciding before this section can be finished:
who decides a refund, who bears the cost,
what window applies, and what happens to our commission
when a sale is reversed. We have deliberately not guessed at any of them.
07
Your gallery account
You are responsible for what happens under your account and for keeping its credentials
secure. Tell us promptly at support@artscope.io if
you think someone else has them.
One login, shared — worth understanding before you add staff
An ArtScope gallery account is a single sign-in. There are no separate
staff logins, no roles and no permission levels. Everyone at your gallery who works in
ArtScope is using the same credentials, and everything any of them does is treated as done
by you.
The "team" list in your account settings is not a list of logins — it is
the list of people who get an email or text when a piece sells, with a switch for each.
Adding someone there gives them notifications, not access.
So: share the credentials only with people who may act for the gallery, and change them
when someone leaves.
You are responsible for the information you enter about other people — your artists' contact
details and your buyers' details — including having a proper basis to enter it. This is set
out in section 10 and in
the Privacy Policy, sections 6 and 7.
08
Selling through ArtScope
By listing a piece for sale you confirm that:
- you have the right to sell it, and to display and reproduce its image;
- the description, price, availability and condition are accurate;
- the sale is lawful where you are and where the buyer is, including any export,
cultural-property, endangered-species or resale-royalty rules that apply to it;
- you will fulfil what you sell — deliver or make available for collection, in the
condition described, within a reasonable time.
To take card payments you connect your own Stripe account. Stripe's terms
apply to you directly and Stripe decides whether to accept you. Payouts are Stripe's, on
Stripe's schedule, into the account you gave them — we do not hold your money and we cannot
release it faster.
You are responsible for your own taxes, and for any tax you must charge on a sale. We do not
calculate, collect or remit sales tax, VAT or any equivalent on your behalf.
You handle the buyer relationship: shipping, insurance, condition reports, and anything the
buyer needs after the sale.
09
Publishing an exhibit
Publishing an exhibit is a separate paid product that we sell to you
directly, at a fixed price shown at checkout. It is not a marketplace transaction and no
commission applies to it — you are buying something from us.
Purchases of exhibit publishing are final once the exhibit is published.
You can take a published exhibit down at any time. Sales records associated with it are kept
— see the Privacy Policy, section 12, which
sets a seven-year retention on sales and payment records.
Catalogue downloads
Some exhibits are sold with an allowance of catalogue downloads. One download is one visitor
saving the exhibit catalogue, in one language. We count them, and we show you the count.
Nothing stops working when the allowance runs out. The counter goes to zero
and past it, and visitors keep downloading. We are telling you that rather than describing a
limit that does not exist. If your exhibit is regularly past its allowance we will talk to
you about it; nothing switches off without a conversation.
Open — how long a published exhibit lasts
The gallery app currently tells galleries at the point of payment that an exhibit "will
typically remain active for approximately 1000 views". Nothing in ArtScope counts views,
expires an exhibit, or deactivates one — an exhibit stays up until somebody takes it down
by hand.
Two things need settling: whether that sentence is a commitment or an estimate, and
whether it stays at all. Note it is a different 1,000 from the free tier's 1,000
guest sessions in section 11, and a reader who meets both will assume they are the
same number. Also unsettled: what a download allowance is sold as, and whether it is meant
to stop at zero — because today it does not.
10
Sales you record at the desk
You can record a sale that did not go through ArtScope's checkout — cash, a cheque, a card
on your own terminal, a piece sold over the phone — so that your records and your inventory
stay in one place.
That transaction is entirely yours. We were not part of it, we did not take
payment, and the system takes no commission on it. We store what you type and, if you ask us
to, email the buyer a receipt.
Read this before you type in a buyer's details
A buyer at your desk may never have used ArtScope and may never have heard of us. When you
enter their name, email address and phone number, you are responsible for having a
proper basis to do it — and for what you tell them about it.
The same goes for your artists' contact details on your roster.
Open — does the commission apply here?
Our /museums page says the 5% applies "on any sale recorded through ArtScope", which reads
as covering desk sales. The product does not implement that: there is no fee on a manual
sale and no mechanism to charge one. This section is drafted to match the code. If the
intent is that the commission applies, the code and the marketing copy disagree with each
other and one of them has to change before this is published.
11
What it costs
| What | Price | Notes |
|---|
Using ArtScope
Accounts, exhibits, visitors, analytics |
Free |
For institutions that are not selling, free permanently under 1,000 guest sessions a month |
Commission on a sale
Through ArtScope's checkout |
5% |
Of the piece's price, taken from the payment before it reaches you. Rounded down, never up |
| Sales recorded at the desk |
No fee |
See section 10 |
| Publishing an exhibit |
Shown at checkout |
A fixed price we charge directly. Section 9 |
Stripe's own processing fees are separate and are charged to you by Stripe under your
agreement with them.
The free tier, in plain terms
A guest session is one visitor opening your exhibit on their phone, however
many pieces they go on to read. Ten visitors in a morning is ten sessions, whether each
reads one label or all forty.
There is no meter, and nothing switches off. We do not count sessions
automatically, no cap is enforced, and no invoice arrives out of nowhere. If your programme
has clearly outgrown the free tier we will start a conversation about what you need next.
That is a promise we keep by hand, and we would rather describe it accurately than imply a
metering system we have not built.
Open — how the commission rate is stated
The 5% is real and is what the system is configured to charge. But it is a configuration
value that can be changed without a code release, so nothing in the product holds the rate
at 5% or gives anyone notice if it changes.
Two decisions: whether these terms should state a number at all rather than referring to a
published rate, and what notice a change requires. A fee change with no
notice provision is the kind of clause that gets a marketplace's terms read closely.
12
If you apply to an open call
Galleries run open calls on ArtScope and artists apply through a public form. You do not need
an account. Depending on what the gallery asks for, you may give your artist name, legal
name, a description of yourself, website, Instagram, email address, phone number, and images
and details of your work.
The gallery decides, not us
We carry your submission and send you a receipt. Accepting or declining an
application is the gallery's decision alone — we do not make it, we do not
influence it, and there is nothing to appeal to us about. If you have not heard back, the
gallery is who to ask.
You confirm the work is yours or that you have the right to submit it, and that the images
you upload are yours to upload. You keep ownership of your work and your images. You give the
gallery running the call, and us, permission to store and review your submission for that
call.
You accept these terms and the Privacy Policy when
you apply. Where the form asks you to tick a box confirming it, that acceptance is recorded
with your submission, against the version of this document printed at the top of the page —
section 3.
Where your images are stored, said plainly
Read this before you upload
Images submitted to an open call are stored on a publicly-readable path.
Anyone who has the address of an uploaded file can fetch it without signing in and without
our knowing. We publish no directory of them, nothing on the exhibit site links to them,
and the addresses are not guessable in any practical sense — but the storage itself is not
access-controlled, and we would rather tell you that than let you assume otherwise.
Take it into account for work you need kept unseen before an opening, and for anything
under embargo or under an exclusivity arrangement with someone else.
One related mechanic worth knowing: images upload as you add them, before you
submit the form. If you fill in half an application and close the tab, the images
you had already attached are already stored, even though we never received an application
from you.
Open — the rights an applicant grants, and the sharing question
Two things are unresolved and are deliberately left un-drafted rather than guessed at:
what rights an applicant grants over submitted images beyond reviewing the
application — showing selected work in the resulting exhibit, or in promotion of
it; and how long submissions are kept, including from unsuccessful
applicants. Until those are settled, the only permission this section claims is the narrow
one above: storing and reviewing the submission for the call it was sent to.
Separately, some forms ask "How may we share your details?" as a free-text
question. Whatever an applicant writes there is stored alongside their details and
nothing in the system acts on it. It is not a control, and these terms
must not describe it as one. Either it becomes a real preference, or the field should go.
A third question used to sit here — whether applicants should be told where their images
are stored — and it is now answered and drafted above, because that one needed a fact
rather than a decision. What is still missing is the notice on the form itself, which
carried none of any kind: no terms link, no privacy link. A notice and an acceptance
checkbox are being added to it. Until that ships, an applicant reaches this section only
by going looking for it.
13
Your content and the licence
You keep everything you own. The artwork, the images, the descriptions, the
artist statements, your exhibit texts — all yours. Nothing here transfers ownership of any
of it, and we do not sell or license your artists' work to anyone.
To be able to run the service, you give us a non-exclusive, worldwide,
royalty-free licence to host, store, reproduce, display, adapt, format and
translate your content, for as long as you keep it on ArtScope, and for
these purposes only:
- showing your exhibit to your visitors, in the languages they choose;
- generating your catalogue and the pages that go with it;
- running checkout, receipts and notifications for your sales;
- operating, backing up and securing the service.
Promoting ArtScope is not in that list. If we want to show your exhibit in our own
marketing, we will ask you first.
When you take content down, the licence ends with it, apart from backups that age out on
their normal cycle and records we have to keep — sales records in particular, which
the Privacy Policy retains for seven years.
Our side: the ArtScope name, logo, software, designs and documentation are
ours. Using ArtScope does not give you any right to them beyond using the service as these
terms allow.
14
Translation
Exhibit text can be translated into any of 76 languages, and visitors choose
which they read in. Translation is done by Amazon Translate, an automated
machine-translation service. Confirmation emails to buyers are translated the same way.
It is machine translation, and it will sometimes be wrong. We do not review
it, and we cannot warrant that a translated price, condition note, dimension or artist
statement is accurate. Where a translation and the original conflict, the original-language
text is the one that counts. If a piece's description carries something that has to be exact,
check the translation before you publish.
Open — who owns the translated text
Machine translations of a gallery's exhibit text are generated by us, from the gallery's
content, and stored on our systems. Whether the translated text belongs to the gallery,
to us, or is simply covered by the licence in section 13 has not been decided. The
simplest answer — it is the gallery's, as a derivative of their content — is probably
right but should be confirmed rather than assumed.
15
The image scanner
Some exhibits let a visitor point their phone camera at a piece to identify it and open its
details. This works from an image-recognition model that the gallery trains on its own
exhibit, using its own photographs of its own pieces.
In plain terms, for visitors
The camera image never leaves your phone. The model is downloaded to your
browser and the recognition runs there. No photograph, video frame or camera feed is
uploaded to ArtScope, stored by us, or sent anywhere else. What we do record is the same
thing we record when you open a piece any other way — that the piece was viewed. Your
browser will ask for camera permission, and the feature simply does not run if you decline.
For galleries: you are responsible for the images you use to train a model
and for having the right to use them, for the model you produce, and for checking that it
identifies pieces correctly before you rely on it in front of visitors. It is a statistical
classifier: it will sometimes identify the wrong piece or fail to identify one, and we do not
warrant its accuracy. You can delete a model at any time. The trained model is stored on our
systems under your account and is covered by the licence in section 13.
Open — this feature is in neither published document
The scanner is live in both the gallery and visitor apps, and it appears in neither the
2024 terms nor the current Privacy Policy. This section covers the terms side. The
Privacy Policy also needs amending: it describes no camera feature and no
on-device model, and a museum's procurement review will ask about a camera before it asks
about almost anything else. Amending a published policy is the owner's call.
16
Acceptable use
Do not use ArtScope to:
- publish or sell anything you do not have the right to publish or sell, or that infringes
someone's copyright, trademark, or rights of privacy or publicity;
- break the law, or sell anything whose sale is unlawful where you or the buyer are;
- sell stolen goods, or goods whose trade is restricted — protected cultural property,
endangered species material, weapons, controlled substances;
- facilitate human trafficking or the exploitation of anyone;
- publish content that is hateful, harassing, defamatory, or that sexualises children;
- misrepresent a piece, its provenance, its condition or its price, or run a sale you do
not intend to honour;
- submit someone else's personal information without a proper basis for doing so;
- attack, overload, probe or reverse-engineer the service, or try to reach data that is
not yours;
- scrape the service, or use it to build a competing dataset or product.
ArtScope is for visual artwork and objects — including antiques and unique or limited
pieces. It is not built for performance art, music, or mass-produced goods, and we may
decline listings that are not what the platform is for.
Open — the prohibited-goods list
The 2024 terms carried a long prohibited-goods list lifted from a payment provider's
acceptable-use policy. It has been condensed above to what is relevant to an art platform.
Whether the full list should be restored — and it may need to be, to match what Stripe
requires of us as a platform — is a question for legal review against our current Stripe
agreement.
17
Reports and enforcement
Anyone can report a problem with an exhibit or a piece from within the exhibit itself, and
galleries can report a problem to us from their account. If you believe content on ArtScope
infringes your copyright, write to
support@artscope.io with enough detail to identify
the work and where it appears, and we will look at it.
Where something breaks section 16 we may remove or hide the content, suspend the
account, or both. We will tell you what happened and why, and give you a way to respond,
unless the law stops us. Serious matters — the sale of illegal goods, anything involving
trafficking or the exploitation of children — we report to the authorities.
What we can actually do, and what we cannot
The terms we published in 2024 described an enforcement system ArtScope does not have:
"ghost accounts", a blacklist of terminated users, a formal appeals process, and deletion
of an account within two weeks. None of that exists, and describing it as though it did was
a promise we could not keep.
What we can do: remove content, suspend an account, sign a user out, and report to
the authorities. What we cannot do today: delete an account.
There is no account-deletion path in ArtScope. We will honour a deletion request by hand
under the Privacy Policy, section 13, within
the 30 days it commits to — but we are not going to describe an automated erasure that has
not been built.
You can stop using ArtScope at any time. Take your exhibits down and stop
signing in. Sales records are kept as described in section 13; to have the rest removed,
write to privacy@artscope.io.
If we suspend your account we will not charge you for a period after the suspension. Nothing
here affects a sale already made or money already owed to you by Stripe.
18
Availability and warranties
We work to keep ArtScope running and running well, but we do not guarantee it will be
uninterrupted or error-free. We do not offer a service-level commitment, we may change or
withdraw features, and we are not responsible for outages caused by things outside our
reasonable control — including a failure at Amazon Web Services, Stripe, or a network in
between.
Keep your own copies. We back up our systems and we take security seriously
— see the Privacy Policy, section 14 — but you
should hold your own copies of your images, texts and records rather than relying on us as
your only store.
Except as these terms say and as the law requires, ArtScope is provided "as
is", and we disclaim all other warranties, express or implied, including
merchantability, fitness for a particular purpose and non-infringement. Some jurisdictions do
not allow that, and where yours does not, this does not apply to you.
We do not vouch for galleries, for artists, or for the accuracy of anything a gallery
publishes — including descriptions, prices, provenance, machine translations and the image
scanner. And where a gallery takes a buyer off ArtScope to pay another way, that transaction
is outside this platform and outside what we can help with.
19
Liability
Nothing in these terms limits liability that cannot be limited by law — including for death
or personal injury caused by negligence, and for fraud.
Subject to that, neither party is liable for indirect or consequential loss, or for lost
profits, revenue, goodwill or data.
Open — the liability cap depends on a decision not yet made
A liability cap normally follows from what the platform's role in a transaction is, and
that is the single biggest unresolved question in this document: whether ArtScope is a
marketplace, the gallery's agent, or the
merchant of record on a sale. It matters here because we own the checkout,
the receipt and the dispute — a "we are just a venue" cap does not sit comfortably next to
that.
The 2024 terms placed all transaction risk on the buyer and the gallery, which no longer
matches how payments work. No cap has been drafted here, because writing one before the
characterisation is settled would produce a clause that has to be rewritten anyway.
Indemnity. If you are a gallery, you will indemnify ArtScope against claims
arising from your content, from what you sell, from personal information you entered about
someone else, or from your breach of these terms.
20
Governing law and disputes
If something goes wrong, please write to us first at
support@artscope.io. Most things are resolved that
way, quickly, and we would rather do that than anything below.
Open — not drafted, and deliberately
The 2024 terms chose the law of Illinois, required binding
arbitration before the American Arbitration Association in
Chicago, and included a class-action waiver.
Whether all of that is still right for ArtScope LLC is a legal decision and a business one,
not a drafting exercise, and it is the most consequential set of clauses in the document.
An arbitration clause and a class-action waiver also have to be presented and accepted in a
particular way to be enforceable in many places — which connects directly to
section 3, since nothing in ArtScope currently records anyone accepting anything.
The previous position is recorded here so it is not lost. It is not restated as binding,
and this section needs to be written by a lawyer before these terms are published.
Severability. If any part of these terms is unenforceable, it is severed and
the rest stands. Entire agreement. These terms and the Privacy Policy are
the whole agreement between us about ArtScope. Assignment. You may not
assign these terms without our consent; we may assign them to a successor to our business.
21
Changes
We will update these terms as ArtScope changes. Every version carries the identifier printed
under the title, and it changes whenever the substance does — a new clause,
a change to what a sale or a commission means, a change to your rights here. Correcting a
typo does not move it. Where you have accepted a version, that identifier is what we
recorded, so it is always answerable which text you agreed to.
For a change that materially affects you — the commission, fees, how sales work, or your
rights here — we will give notice before it takes effect, by email where we have your
address and in the product. Account holders are asked to accept the new version in the
product; continuing to use ArtScope after notice means you accept the change, and if you do
not, you can stop using it and take your exhibits down.
Changes required by law or to address a security problem may take effect immediately.