This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.