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在艺术市场的博物馆的作用是显著的，在中国，当代博物馆的发展已经从他们出现在第二十世纪末被相对缓慢的上河美术馆，成立于1998，是中国第一个私人美术馆，并开始了民营美术馆在中华人民共和国时代。
与国家博物馆不同的是，私人博物馆通常由顾客提供艺术感兴趣，比如长博物馆，在上海开设了2012个博物馆，还有于博物馆。在这两种情况下，私人收藏的艺术品，然后扩散到整个博物馆的资金。
The role of museums in the art market is significant, in China’s case, the development of contemporary museums has been relatively slow since they appeared around the end of 20th century, Upriver Gallery, established in 1998, was the first private art museum in China, and started an era of private art museums in the People’s Republic.
Differing from state museums, private museums were often inaugurated by patrons with an artistic interest, one example being Long Museum, which opened in Shanghai in 2012, as well as Yu De Yao museum. In both cases, a private collection of art then proliferated into funding for an entire museum.

虽然许多这些私人艺术博物馆的建立与创新的运作模式和示范性的规划，所有的方式，在日常运作中的困难，如缺乏资金，和学术水平的展览是比较低的。另一方面，在与国家博物馆相比，私人博物馆没有得到资助的形式，政府由于有缺陷的决策。此外，赞助和私人捐款并没有足够的地方，作为大多数私人博物馆依靠其业务或私人赞助的资金来源，一些私人博物馆出售的艺术品，以支持他们的经济可行性。作为吕鹏，当代艺术博物馆馆长解释说：“我们经常遇到的情况，在我们建立了一个艺术博物馆，举办展览，然后很快博物馆消失.一旦投资者改变他们的方向和喜好的投资，没有办法保证可持续的私人博物馆的资金，如果资金链断裂，博物馆发现它很难生存。在现有的中国私人艺术博物馆，博物馆在日常运作中运作是很困难的，因此，他们的推广工作永远不会像西方国家的博物馆一样可靠。Although many of these private art museums were established with creative operational models and exemplary planning, all manner of difficulties crop up in daily operation, such as a lack of funding, and the academic level of exhibitions being relatively low. On the other hand, in contrast to state museums, private museums do not receive funding support form the government due to flawed policy-making. In addition, sponsorship and private donations do not stretch far enough, and, as most private museums rely on their business or private sponsors as sources of funding,some private museum sell art works in order to shore up their economic viability. As Lv Peng, the curator of the Cheng Du Contemporary Art Museum explained: 'We often encounter a situation, in which we build an art museum, hold exhibitions, then soon the museum disappears […] once the investor changes their direction and preferences of investment, there is no way to secure sustainable private museum funding, and, if the chain of capital breaks, museums find it very hard to survive.'. In the case of existing Chinese private art museums, it is difficult for museums to be independent when functioning in daily operation, therefore, their promotion can never be as reliable as museums in Western nations.

1.Tax-Deduction Policy for Sponsorship and Donation
2. Policy for Art Foundations
3. Matching Grant policy in the United Kingdom and its Inspirations

In addition, building a reasonable system of foundations could bring great improvements to the development of nonprofit art organisation, which is a relatively fragile part of the market in China. Consequently, the growth of nonprofit arts organisations in the form of art museums and nonprofit art centres will lead to other benefits for society, such as the enhancement of cultural and artistic education for the general public, which is urgently needed in the country.
In conclusion, in order to enhance the general situation of private museums in China, an encouraging attitude is first needed from the government, and, with the support of efficient policy increasing interest in arts sponsorship and donations, the problem of sourcing funding will soon be solved.