Is your firm more focused on design, service, or cost? You can't say all three.
Some people see this as a trick question with no correct answer, but it's a great way to match your company's requirements to an exhibit house's core competencies, according to industry consultant Bob Milam. "Most firms will claim to deliver all three. But knowing which they consider their primary focus will tell you a lot about what the company values and what you might be able to expect from it," Milam says. Armed with this info, you can make your own conclusions about each company's strengths and decide if it's a match.

Sources also recommend inquiring about the company's past because its initial product or service offering is often a good indication of the firm's DNA and core competencies. For instance, a labor company that evolved into an exhibit house will likely have access to a huge pool of skilled workers and will understand the installation process, but it may not have as much expertise in design or structural engineering.

"Especially when looking at larger, multicity exhibit houses, ask how the company grew to its current size and what the residual effects are," says Dave Brown, account executive at Tive Inc. "Did they grow organically or by acquisition? In either case, how has the culture been maintained and merged? Are all the locations functioning via a single enterprise resource planning (ERP) system, or are some of the locations using legacy tools? This can shed light on their overall efficiency." Knowing the direction a company has taken over time can help you identify the right partner for your program's unique needs.

What work will be subcontracted, and what's the markup?
More likely than not, an exhibit house can't provide every service or product you'll ever need. For example, it may not provide lighting and staging, multimedia production, labor, measurement, transportation assistance, international offices, etc. Or it may outsource various exhibit components such as tension-fabric structures, lead-retrieval kiosks, banner stands, etc. Even if potential firms don't normally outsource work, however, things may be in a state of flux for some time. "In the post- pandemic environment, some of the services that exhibit houses produced internally, such as graphics, may not be back online yet," says Brown, who cautions that outsourcing work to reliable partners is not necessarily a bad thing, but still something you should be aware of up front. "Do you want someone who will try to do everything on their own, or someone who acts like a primary care provider and brings in a specialist to best address your needs?"

"Some firms subcontract everything from exhibit design and graphics production to lighting plans and audiovisual creation," says Dominique Cook, CTSM, trade show manager for Minnesota-based Marvin. "You should know up front whether you're going to be dealing with one company or if other companies, perhaps with different quality standards and work philosophies, will be part of this relationship. Plus, with some exhibit- house markups ranging from 25 to 35 percent, you'll want to ask exactly how much of a markup you will be paying for those services."

Depending on myriad variables, including your time and budget, the amount of service you require, etc., you may prefer a one-stop shop. Or, you might want to contract some line items yourself and bypass the markups. But know where your dollars are going and exactly which firms will be fulfilling your requests.

How much emphasis does your company place on rental?
According to EXHIBITOR's Rental/Refurb Survey, more than one-third of exhibitors use rental exhibits for some or all of their shows. And 30 percent of respondents report that rentals have proven to be more cost-effective than owned properties. So if rental is critical for your program, determine whether it's important to the exhibit houses you're considering.

"Many firms claim to have rental capabilities," Cook says. "But 'capabilities' could mean anything from an extensive inventory that is refurbished regularly to a few back walls that are loaned out to people in a pinch. And the rental properties you want may be in a warehouse in Timbuktu." So if you rent, understand what's available and where it's located.

Keep in mind, though, that just because a company has a lot of rental inventory doesn't make it the perfect fit. A firm rife with rentals may excel in custom design and construction, or it may steer clients toward rental whenever possible. There's no correct answer, so investigate the role that rental properties play in the company's overall business and how this situation might impact your program.

Where would you build and store my exhibit?
Given the high cost of trade show transportation, some exhibit managers prefer to store their exhibits in central locations within the United States (so the exhibit never makes an expensive coast-to-coast trip) or in locales near most of their shows. Others, however, want their exhibits stored near their offices so they can access them for pre-show previews or to assess or inventory them as needed. And some people want to regularly check the progress on a new build, so they want the exhibit built in one city but then stored in another.

"Whatever your requirements, it's important to know where your exhibit will be built and stored, and even what warehouse and partner facilities are available throughout the year," says Patricia Coleman, national sales director for CadmiumCD LLC.

"Maybe you prefer to store your booth near your office for the majority of the year. But then from January to May you want to keep it on the West Coast where most of your shows are located during that time frame," Coleman says. "So before signing, determine if the company has multiple facilities to accommodate your needs."

How many of your last 10 designs were at or below budget?
Before you select an exhibit house, get a sense of its track record in regard to the budget parameters of past projects. If the firm routinely goes 30 percent over budget, you can expect its estimate to be lower than what you'll likely end up paying. Having said that, sources caution that it's very common for exhibit managers to ask for things they can't afford. But most of the time, exhibit builders ought to be able to deliver an acceptable design within the allocated budget. And if an exhibit manager with beer-bottle pockets asks for a champagne-caliber exhibit, the builder should explain what is and isn't financially reasonable before a design is presented.

Certainly, given the variables involved in this process – and the fact that some exhibit managers won't even reveal their budgets until designers have obliterated them (and wasted their time in the process) – you can't expect builders to hit the nail on the head 100 percent of the time. But they should at least be willing to discuss the topic at length and show you examples and figures. If not, it's a good indication the firm in question can't consistently manage costs, which is a flashing-red warning sign that if you partner up, you can expect years of overages.

May I get a price list of additional fees?
Unexpected additional fees can wreak havoc on your budget. So ask each firm for a list of fees that are typically tacked on over and above the base price of a new build and any costs that tend to pop up after the build has been completed. You might not be able to avoid them all, but with planning you should be able to sidestep many of them. Plus, a laundry list of add-ons should probably make you think twice before you hook up with that particular firm.

"Also, if you're contracting labor through your exhibit house, ask if it's unionized, as that could significantly impact labor costs over the life of the booth," Milam says. "And since you'll likely be spending countless hours with your account exec (AE) and possibly with a designer, determine if you're being billed hourly, on a flat fee, or a combination of the two."

Deadline-related fees can also eat up your cash. "Almost all firms assess fees associated with revising designs, switching materials, and changes made outside of the agreed-upon timelines," Coleman says. "But even though these fees are commonplace, they should still be in line with your expectations and your company's propensity to regularly miss deadlines and significantly alter designs."

Can I get a line-item pricing breakdown in various formats?
After you've selected a handful of potential exhibit houses, you'll likely enter into the RFP stage with each one. And you can't compare an apple to a turnip. That is, you need the RFPs to look somewhat similar in terms of line-item breakdowns and formats. Thus, before you get to the RFP stage, ensure that each potential exhibit house can deliver the kind of formatting and breakdowns you need.

"When you're soliciting proposals, pricing from each competitor should be itemized the same way," Coleman says. Give every potential firm a list of main elements that you want itemized, with a brief description of each. There may be minor discrepancies in the way each firm costs out the elements, but this method allows you to easily and fairly compare one proposal to another. And if a firm refuses to provide a quote in the format you request, this might suggest that it will be equally unwilling to accommodate your other requests down the road.

If we suddenly had to cut 25 percent of our budget, where would you focus first?
Almost all exhibit managers have to cut costs from time to time, so Milam suggests asking firms for their most common cost-cutting strategies. The answer to the question will tell you a lot about the company's cost-cutting philosophies and its abilities to trim the fat. For example, does it prefer to eliminate large line items and generate a significant cost savings all at once? If so, pay attention to what elements it wants to trim. Are they critical to your program's success, or truly ancillary items that could go away unnoticed? Instead, the company may suggest you make a series of small snips here and there across the board to help decrease overall costs. Are these suggestions logical? Do any of them elicit "Why didn't I think of that?" reactions from you?

Perhaps even more importantly, consider the type of response this question elicits from the firm. Do representatives take a positive "We're in this together, so let's get going!" approach? Or are they downtrodden and dumbfounded? You'll get a broad range of answers, but the company's approach to cost cutting should mesh with yours, and representatives should approach the task with willingness, not wariness.

What happens if an in-person show cancels or goes virtual at the eleventh hour?
"I've owned Global Exhibit Management for 20 years," says Jeannine K. Swan, "and believe it or not, but I didn't have a cancellation policy prior to the pandemic because I had never needed one." But given the fact we're still seeing events cancel, postpone, and transition to virtual-only iterations, it's important to know you're prepared and whether your exhibit provider will be able to assist in a digital pivot or recouping as much of your budget as possible.

Cook recommends specifically asking how prospective partners would move forward in these scenarios. "I want to understand what would happen to any in-progress work, how we might move forward, and what costs may be able to be recovered," says Cook, adding that since many exhibit houses faced these issues over the past two years, they should have a policy in place, even if that policy isn't crystal clear given the number of variables at play. Glenda Brungardt, CTSM, global trade show and event manager for customer and partner experiences at HP Inc., advises considering responses in the context of whether you, the exhibitor, will be left bearing the brunt of all costs if this happens, or whether your prospective partner has a little skin in the game as well.

"I would also recommend asking about digital and virtual capabilities," adds Cook. "Hopefully you'll never need them, but given the state of the world currently, being strong digitally will allow for virtual experiences to be deployed if necessary."

What percentage of your revenue comes from your three largest clients?
One of the biggest mistakes exhibitors make is falling in love with an exhibit house that's too large for them. Generally speaking, sources say your account should be at least half the size of the builder's largest accounts. If you're significantly smaller than the big guys, carefully consider whether you'll really be given the level of service you deserve when the builder has clients that bring in 10, 20, or even 100 times more revenue than your account. Of course, the builder will tell you that every client is equally important, but when push comes to shove and it has to choose between a rush fix-it job on your 10-by-20-foot back wall and creating 40 new graphics panels for its largest client, you can bet that your project will be coming in second.

Swan agrees, adding that while major exhibit builders are great for big-budget customers, the reality is that if you're a 10-by-20 exhibitor with three to four shows per year, you're not likely to be their top priority. "It's not a slam on big shops," she says, "but business is business, and a multimillion-dollar account will have more resources dedicated to it than a much smaller one."

That said, if your exhibit program requires very little service from your builder, then a low totem-pole position isn't an issue. However, if your program requires a lot of attention, you need to ensure the firms you're considering are willing to accommodate that level of service. The key is to be comfortable with the builder's level of commitment to you and confident that it's not going to leave you hanging when an A-list client wants help.

Can I meet my primary contact, and how much time will he or she devote to me?
You don't need to be best friends with your AE. But anyone who has worked with someone whose personality is incompatible with his or her own knows how significantly toxic relationships can impact a project. "Since you'll be working hand in hand with an exhibit-house rep, it's important to find out just who this person is, what type of authority he or she holds within the organization, and, perhaps even more importantly, whether your work styles dovetail with one another," Cook says. You might not think that personalities matter all that much in a professional relationship, but something as simple as the fact that you're deadline driven and your AE has a more lackadaisical approach could create major friction.

"The relationship between exhibitors and exhibit builders is a unique partnership, and it's important for the exhibitor to meet and feel comfortable with the contacts they'll be working with day in and day out," Swan says. "Nobody's perfect, mistakes happen, and show floor accidents occur. So consider whether or not you'd feel comfortable calling that person late at night or on the weekend to help you solve any problems that might arise."

The second part of this question gives you insight into the level or amount of service you can expect. If your exhibit strategy is complex and you're new to the game, you'll likely want a considerable amount of your AE's time. But if it's relatively simple or you and your internal team are resourceful, you probably don't need much hand holding throughout the year. So make sure your requirements match your AE's devotion.

How many of your clients exhibit in my top three to five shows?
Make sure your exhibit house knows which shows on your calendar represent your most important investments, then ask how many of their other clients also exhibit at those shows. This question will tell you a couple of important things. First, it'll provide insight into the level of experience the firm has with your particular industry. Your exhibit builder wants you to think it can translate your goals into a great exhibit no matter the market, and it may try to sell you on the fact that it's coming at the design with a fresh perspective. But knowledge of your industry is critical to the success of your program. Milam adds that providers with experience designing exhibits for companies in your industry will be more familiar with the quirks and tendencies of your audience and should already have a firm grasp on what solutions might be appropriate.

Second, this question will tell you how time strapped this firm will be during your most important events. If it has several large clients exhibiting at the same show, you could end up fighting for the attention of your AE leading up to and during each of these events. "On the other hand, if your exhibit house has multiple clients at the same show, you could score some cost efficiencies," Milam says. "The firm might be able to consolidate shipments onto fewer trucks, and you and the other clients could share some of the costs of labor, AE time, etc."

What will my team and I responsible for (and when) during the design/build process?
While the basic steps for building an exhibit are pretty much the same across the board, every exhibit house approaches the process differently, and each one requires varying levels of participation from its client. So just because you've built more booths than a carnival worker doesn't mean you can successfully maneuver the process with every exhibit firm.

"To ensure that there are no misunderstandings – or costly errors – along the way, you must have a clear understanding of the design and build stages, and how the exhibit house will proactively engage you in them," Coleman says. "Within those stages, designers should be able to give you approximate timelines for everything from design meetings and approval dates to graphics-review windows and team conference calls."

Also request an estimate in terms of how much time you'll be required to devote to the process as your exhibit moves from the design stage through to fabrication and install. Everyone must be on the same page, and the entire new-build operation with this particular firm can't require more time than you and your team can spare.

What is your COVID policy for on-site staff?
It's impossible to know how the COVID pandemic will evolve in the months and years to come. While the entire industry fervently hopes the virus will vanish and become a nonissue, most experts seem to agree that it may be with us – at least to some degree – for the foreseeable future. That means we need to be prepared for variant flare-ups that could result in new or revised safety protocols.

"This is an important question to ask potential partners to see if their policies match what your company expects," Brungardt says. If they don't have an existing policy, Brungardt encourages delving deeper. "As a follow-up question, ask why they don't have one, as their answer will tell you how seriously they're taking pandemic safeguards."

Swan adds that some shows now have mandates requiring that all exhibit staff – including laborers – are vaccinated. So knowing what your exhibit house's policy is and how they enforce it may be an important consideration with a direct impact on their ability to provide the on-site service and assistance you expect.

What questions do you have for me?
In one sense, hunting for an exhibit house is like interviewing potential employees. Just as you'd expect job candidates to have done enough research on your company to pose a few logical questions, an exhibit house should have a few logical queries of its own.

"The client/builder relationship should work for both of you," Coleman says. "Just as every exhibit house isn't right for your program, every client isn't a fit for every builder. For example, a particular builder may not be able to handle the complexities of a client with 200-plus shows across the globe. Or a firm's business model might be geared toward a specific industry. The point is, exhibit reps should have some questions to help clarify points you've made, to better suss out your needs, or to simply help determine if this is could be a long-term relationship that's beneficial to everyone involved."

So before you tie the knot with an exhibit house, do your due diligence by posing these 15 questions. Sure, these first-date queries might add a smidge more time to the proceedings, but they'll help you find a match made in heaven – and avoid a messy marketing divorce.