The show runs. The evenings do not.

No. The run is one recurring event: pick the days you open, and set it to end on the closing date. A six-week show open Wednesday to Sunday is a single entry that appears on all thirty open days, not thirty things to keep up to date. If you close for a holiday, a date exception takes that day out, and the same mechanism can add a one-off opening that falls outside your usual days.

As their own events, on top of the run. A recurring event carries one start time, so anything happening at a different hour needs to be separate anyway - which is exactly right here, because each evening wants its own description, its own capacity and its own page to share. Most shows end up with three or four.

The parts you use for every show are free forever: the run as a recurring event, date exceptions, separate evening events, free registration with a capacity for a private view, sub-schedules, exhibition proposals from artists, two-way calendar sync, a live calendar feed and an embeddable calendar. Selling a ticket to a collector dinner or a paid preview is free as well, up to 25 paid tickets a month per schedule, and Pro at $5 a month is what lifts that ceiling. Zero platform fees on sales either way.

Yes. Set the event as free and give it a capacity. People register rather than pay, the count is kept for each date separately, and it stops taking names when the places are gone. Nothing about a private view has to involve money for you to know how many are coming.

Through your page rather than your inbox. The default submission form takes a pasted proposal or an uploaded flyer and reads it into a request for you to review. That is free, and it reads up to 50 a day on the free plan and Pro alike (10 while a schedule is on a trial, 100 on Enterprise), from the same daily allowance as any events you import that way yourself. If you would rather have fixed fields, switch the setting to the booking form and every proposal arrives with a date, a time and a description. On Pro you can add custom fields to either form, so nothing reaches you without a portfolio link.

Anyone who leaves an email address on your gallery page and confirms it is sent a short digest when you put a new show up, at most one every few days, and it does not touch your newsletter allowance. Collectors who would rather not give an address can subscribe to the gallery's live calendar feed instead, and each new show appears in their own calendar. Anything with more in it than the dates is a newsletter you write: the free plan covers 10 emails a month and Pro raises it to 100, counted per recipient rather than per send, so one message to a hundred collectors uses a hundred of them.

Add them by name anyway. The show's page lists every artist, and one without an account gets a page of their own that shows the dates you added, says your gallery listed them and that they have not claimed it yet, and stays out of search engines until they do. Add their email address and they can claim the page by signing in with it; the dates you listed stay on it once it is theirs.

Through your own Stripe or PayPal account, an Invoice Ninja invoice, a payment link or cash, chosen per event, and Event Schedule takes no platform fee on any of them. If a guest cannot come, refund them from the Sales page: a Stripe or PayPal sale goes back through the provider, in full or in part, and any other method is marked as refunded, which records it without moving money. Refunds are free on every plan, and so is selling, up to 25 paid tickets a month per schedule.