Cultural industries help build creativity-based economies and stimulate worldwide cultural interchanges, but this process faces constraints. One such constraint is unequal treatment of genders. When female artists export cultural products, they face a “liability of gender”, defined as gender specific difficulties in overcoming the liability of foreignness. Both audiences’ gendered expectations and artists’ lack of information about foreign markets will lower women artists’ probability of successfully exporting cultural products, relative to their male counterparts. Differences in education and social network connections strengthen this effect. To investigate this relation and discover how it can be counteracted, we study Korean artists from 2000 to 2015. We document that female artists have more difficulty exhibiting in foreign galleries than males, yet these negative effects can be mitigated by elite education and by participation in art residency programs. Residency programs help female artists to develop networks from their interactions with female peers, but these benefits erode quickly relative to the benefits of education. These findings help us understand how to create a level playing field across genders in worldwide cultural exchanges and suggest that network building institutions such as the art residency programs can effectively reduce gender inequality.

文化产业有助于建设以创意为基础的经济并刺激世界范围内的文化交流，但这一过程面临着限制。其中一项制约因素是性别待遇不平等。当女性艺术家出口文化产品时，她们面临着“性别责任”，即克服外来责任时性别特有的困难。相对于男性同行，观众的性别期望和艺术家缺乏有关国外市场的信息都会降低女性艺术家成功出口文化产品的可能性。教育和社交网络联系的差异强化了这种效应。为了调查这种关系并发现如何抵消它，我们研究了 2000 年至 2015 年的韩国艺术家。我们记录了女性艺术家比男性艺术家在外国画廊展出更困难，但这些负面影响可以通过精英教育和参与艺术驻留项目。驻留计划帮助女性艺术家通过与女性同龄人的互动来发展人际网络，但与教育的好处相比，这些好处很快就会消失。这些发现帮助我们了解如何在全球文化交流中创造跨性别的公平竞争环境，并表明艺术驻留项目等网络建设机构可以有效减少性别不平等。