INVESTOR PRESENTATIONPRIVATE OFFERING FOR ACCREDITED INVESTORS

The Michelangelo Experience Exhibition represents an investment opportunity in the new and growing filed of traveling exhibitions. The Exhibition features the major sculptural works of Michelangelo’s life, from his first sculpture at age 14 to his last sculpture at age 88. Telling the story of Michelangelo's life in a way never before possible.

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SAFE HARBOR STATEMENTS

This Program Summary offers only limited descriptive material regarding an investment in Michelangelo Experience, Inc. as a long term investment. It does not purport to be complete. The use of this material is authorized only when preceded or accompanied by a current Confidential Private Placement Memorandum, which more fully describes the Offering and sets forth the risks.

All forward-looking statements and any financial projections are estimates only and are subject to adjustment. This presentation includes forward-looking statements within the meaning of the safe harbor provisions of the Private Securities Litigation Reform Act of 1995 including statements that reflect Michelangelo Experience, Inc.'s current expectations about its future results, performance, prospects and opportunities. Michelangelo Experience, Inc. has tried to identify these forward-looking statements by using words and phrases such as "may," "expects," "anticipates," "believes," "intends," "estimates," "plan," "should,” "typical," "preliminary," "hope," or similar expressions.

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• The Michelangelo Experience, Inc., is a private, for-profit museum exhibition company. • The Company is focused on the worldwide marketing and touring of its Michelangelo

sculptures exhibition. • The Company has exclusive access to an unparalleled collection of Michelangelo’s art. • The Michelangelo Experience Tour will show the genius, philosophy, beauty and

inspiration of Michelangelo’s works and life in a way never before possible.

CORPORATE OVERVIEW

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Michelangelo is widely considered the greatest artistic genius that ever lived -- a man whose name has become synonymous with the word "masterpiece." His works include the world famous Pieta, David, and the breathtaking frescoes on the ceiling of the Sistine Chapel.  As an artist he was unmatched, the creator of works of sublime beauty that express the full breadth of the human condition. He left immortal works in sculpture, painting, architecture and poetry. Through this vast and multifaceted body of artistic achievement, Michelangelo made an indelible imprint on the Western imagination. No other artist has ever attained such a high level of mastery in all of these four areas of artistic endeavor. On their own, each of Michelangelo’s pieces is profound. To understand the scope and scale of his work would take a lifetime, and to simply experience his work in person would require weeks of travel. Imagine the impact these masterpieces would have if they were assembled in one collection and in one location.  This Exhibition, The Michelangelo Experience, does just that. Bringing together all of Michelangelo’s major works—works that span his entire life—The Michelangelo Experience is the event of a lifetime.  

INTRODUCTION

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INTRODUCTION—CONTINUED

Featuring 19 of Michelangelo’s sculptures, 15 to 40 of his original drawings, and a re-creation of his remarkable Sistine Chapel, The Michelangelo Experience Exhibition is the best opportunity the world will ever have to take in the brilliant works of humanity’s greatest artist. Created in conjunction with the most reputable scholars in the art world and the Casa Buonarroti museum, this multi-media and multi-sensory experience will feature Michelangelo’s greatest works, offering insight into his life and his masterpieces that will live on long after the exhibition experience is completed.  Providing the opportunity to study, explore, and pay homage to all of Michelangelo’s masterpieces in one location, The Michelangelo Experience Tour will appeal to lovers of art, the devout, and the general public at a level that will surpass the most successful traveling exhibitions of all time.

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EXECUTIVE SUMMARY

• The Michelangelo Experience, Inc. (“TME” or “the Company”) has the content and the key personnel to maximize returns in the relatively untapped field of traveling exhibitions, which have become a primary income generator for the museum industry's $6.5 billion annual revenues. • The Company is in the process of creating The Michelangelo Experience Exhibition (“the Exhibition), a 20,000 square foot theatrical and immersive experience that features the largest collection ever assembled of the sculptures, drawings, architectural models, letters, and poetry of the world’s greatest artist Michelangelo Buonarroti.• TME management’s decade-long relationships with the Italian art and museum community, the world’s foremost Michelangelo scholars, and Italy’s finest fine-art foundry, guarantee the Company exclusive access to this content with virtually no competition.• Leveraging this unparalleled access to content and TME’s deep understanding of the traveling exhibition and museum industries, the Exhibition has the potential to draw paid visitors on par with some of the most successful traveling exhibitions of all time including King Tut, Titanic, and Bodies, which have an average attendance of close to nine million visitors and average $180 million in gross box office revenues.• The Company will use its extensive knowledge of these blockbuster exhibitions to maximize revenue potential.• TME’s CEO was the creative force behind two of the aforementioned exhibition successes.  

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TRAVELING EXHIBITIONSA PROFITABLE MARKET SEGMENT

• Traveling exhibitions are a major producer of revenue in the museum industry; and over the past five years, the touring exhibition market has more than doubled in size increasing to about $750 million annually.  • Industry analysis indicates a yearly growth rate of 15% to 20% for the traveling exhibition market (Appendix I).

 • When exciting content is developed into a traveling exhibition and promoted by the proper organization, properties of this kind can offer a significant return on investment (Appendix II).

 • As such, museums and promoters are now seeking timeless content that has a powerful appeal to the public in order to provide them with a meaningful experience for their entertainment spend. • Traveling exhibitions, maximize their exposure in the market through limited engagements, routing tours for the best seasonal return, extending operating hours, and developing universal content that can reach large market segments including families, churches, and schools.  • Traveling exhibitions offer typical museum visitors a refreshing change from their museum’s permanent collection. This keeps the public coming back and keeps museums eager to identify the next blockbuster property.  • Exhibitions of iconic masters like Michelangelo can draw between 500,000 to 1,000,000 paid visitors per market, equating to $10 million to $20 million in box office revenues alone over six months.

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CONTENT OVERVIEW

• Through its relationships with New Renaissance Art, the Vatican, and Casa Buonarroti (the Michelangelo Museum in Florence, Italy ), TME has access to the most extensive collection of Michelangelo’s sculptures. • The molds from which the bronzes are cast were taken directly from Michelangelo’s original sculptures in the early 1900s. This process has since proscribed by Italian law in order to protect the priceless marble originals from being damaged, thus ensuring the collection remains exclusive. • The sculptures cast from these molds are finished by hand chiseling using the same techniques as in the Renaissance and take between 6 and 18 months to execute. Their museum quality, exclusivity (limited to editions of 12) and authorization by Casa Buonarroti qualify these sculptures to be designated as posthumously cast original Michelangelo sculptures. This is the first time that such a formal declaration has been made by Casa Buonarroti—the only entity with the necessary authority and standing in the art world to assign this designation.• Subsequent to this declaration, discussions with independent appraisers of the American Appraisers Association and the National Institute of Appraisers indicate that the value of the sculptures would now be a multiple of what they were prior the exhibition at, and declaration, by Casa Buonarroti. • As a comparison, a large posthumously cast bronze sculpture of a woman's back by Henri Matisse, Nu de Dos, 4 État (Back IV), sold for $48.8 million in November 2010. Matisse is known to have made four different versions of the famous Backs each was conceived in an edition of 12. As quoted in the New York Observer (11/22/2010), "if you add up the 48 Backs and multiply by $48.8 million, the value of the entire body is $2.35 billion."

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CONTENT OVERVIEW—CONTINUED

•  When far less significant art is fetching astronomical prices today, the investment potential must be formidable for a work of art by the undisputed master—Michelangelo. • In addition to these remarkable, full size sculptures, TME also intends to feature between 15 and 40 originals of Michelangelo’s drawings, architectural models, letters, and poetry, which will be loaned to the Exhibition by Casa Buonarroti. • Designed by the foremost museum and theme exhibition designers and employing an easy to follow narrative, the Exhibition will be an immersive and experiential environment, making the content accessible to all levels of Michelangelo enthusiasts from the amateur to the expert.

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CONTENT OVERVIEW—CONTINUED

The Exhibition will follow a chronological narrative through the life of Michelangelo. Beginning in a 4D introductory theater, visitors will meet Michelangelo as a boy and watch him create his first sculptures and drawings that will then appear before them. Divided into easy-to-follow galleries, the Exhibition will then lead visitors through the life and times of Michelangelo, using his greatest sculptures, and the original drawings that preceded their creation, as guideposts to mark their way.

Michelangelo’s Pieta of St. Peter

A close-up of the Michelangelo’s massive David

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CONTENT OVERVIEW—CONTINUED

Each sculpture is presented at its complete scale in an immersive environment, complete with period appropriate sets, theatrical lighting and audio and video support.

The Moses, commissioned for the tomb of Pope Julius in 1506, stands nearly eight-feet tall

The Rondanini Pieta, created when Michelangelo was in his eighties, is considered by many to be the first expression of modern art

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CONTENT OVERVIEW—CONTINUED

The Exhibition will also feature a recreation of Michelangelo’s remarkable Sistine Chapel, the greatest accomplishment in Western Art.

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STRATEGIC OVERVIEW

• TME’s current schedule forecasts opening its first Exhibition in Q3 2011.

• This unit will be featured in the world’s major markets. Current discussions with museums and cultural centers indicate that the Exhibition will begin in either New York City, Sao Paulo, or Mexico City.

• Each unit launched is currently scheduled to tour for a minimum of five years. Given the Company’s relationship with a vast number of museums and cultural centers around the world, and the relative lack of traveling exhibition inventory, each unit could tour for up to fifteen years (Appendix I, “Industry Overview”).

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Total Funding from Offering $7,500,000

Less Commissions 750,000

Sponsorship 4,000,000

Capital Expenditures

Acquisition and Leases 4,384,000

Exhibition Creation: One Unit

Subject Experts 75,000

Exhibition Design and Construction 1,850,000

Creation of 3D Assets 450,000

Website Development 65,000

Gift Shop Inventory 400,000

Shipping to First Venue 165,000

Exhibition Install and Removal 245,000

Public Relations Consultants 75,000

Marketing 800,000

Venue Rent 700,000

Subtotal 4,825,000

USE OF PROCEEDS

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Administrative Expenses

Salaries, Year One 965,000

Legal 95,000

Accounting 60,000

Payroll Related Expenses 64,000

Rent, Utilities & Telephone, Etc. 32,000

Office Furniture & Fixtures 20,000

D&O Insurance 8,000

Fine Art Insurance 25,000

Computers 16,000

Office Supplies 3,000

Office Printing 2,000

Sculpture Shipping 20,000

Travel & Lodging 150,000

Sub-total 1,460,000

Total Expenditures 10,669,000

Reserves 81,000

USE OF PROCEEDS

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EXCLUSIVE OFFERING

Minimum Investment $250,000.00 • 250,000 Class A Common shares at $1.00 per share • The Michelangelo Experience, Inc. is raising $7.5 million in this first round of financing through a 506 Private Placement Memorandum. • The Private Placement Memorandum for this round of capital is for a direct equity investment in Class A Common shares of The Michelangelo Experience, Inc.  • Investors in Class A Common stock will receive a six percent (6%) annual dividend out of net revenues one year after their subscription date; in year two (2) Investors in Class A Common stock will receive a six percent (6%) annual dividend paid quarterly out of net revenues. • Beginning in year three (3) the Company intends to pay Class A shareholders a quarterly dividend from the net profits of The Michelangelo Experience, Inc. in equal proportion (pari passu) to their equity.  

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Based on 250,000 shares with 12,500,000 investor shares and 52,625,875 total shares outstanding.Calculated on one unit touring continuously for five years. For greater detail, see Projections.Actual results may vary based on actual attendance, revenues, and expenses. The Company may reinvest up to 50% of net profits per quarter back into business before calculating dividends.

Timing Return Totals ROI

Year One $15,000 $15,000 6%

Year Two $15,000 $30,000 12%

Year Three-Q1,Q2 $299,568 $329,568 132%

Year Three-Q3,Q4 $64,667 $394,235 158%

Year Four-Q1,Q2 $56,858 $451,093 180%

Year Four-Q3,Q4 $117,145 $568,238 227%

Year Five-Q1,Q2 $97,783 $666,021 266%

Year Five-Q3,Q4 $86,143 $752,164 301%

Totals $752,164 301%

POTENTIAL RETURN ON INVESTMENT

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PROJECTIONS

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COMPETITIVE ADVANTAGES

• TME has secured the rights to market and tour this unparalleled collection of Michelangelo masterpieces. Through New Renaissance Art, the Company has privileged access to the art work, resulting in little to no competition.• The management team of The Michelangelo Experience has extensive knowledge in the specialized field of traveling exhibitions, and is intimately knowledgeable of the keys to success for this growing industry. • Exhibition revenues will be generated from a variety of sources, including exhibition ticket sales, in-store and online merchandise sales, limited edition sculpture sales, special and private events and corporate sponsorships.• Proven museum and theme park design elements will combine the latest technologies with the timeless forms of Michelangelo’s sculptures and drawings, bringing them to life in a way never before possible.• The current plans are to to visit some of the world’s largest markets over the next five years. The Exhibition has the potential to generate $140 million in gross revenues from ticket sales alone over five years, with a conservative anticipated ancillary revenue stream of an additional $100 million.• The Michelangelo Experience Exhibition debuted at Casa Buonarroti (the entity formed by Michelangelo’s family to protect and preserve the family’s collection of his works) in Florence, Italy from November 9th 2010 to January 20th 2010. It was met with critical acclaim by the Italian press and art community. It also received the highest honor and referral from the Casa Buonarroti itself – granting the Exhibition and its collection significant recognition and endorsement by the fine art community. 

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APPENDICESAPPENDIX I—INDUSTRY OVERVIEW

Touring exhibitions represent the only growing revenue producer for the museum industry. We estimate that the touring exhibition market has more than doubled over the last five years, increasing to about $750 million annually.

• Our analysis indicates that the Industry is growing at rates of between 15% to 20% per year, significantly better than the 4% annualized growth rate for the entertainment industry overall. • The growing choice for consumers seeking a meaningful experience for their entertainment dollars, traveling exhibitions are a young and expanding industry.• The market demand for blockbuster exhibitions is driven by the collective demand of the general public as well as museum directors, international promoters, and the member base of the museum community. • According to the American Association of Museums, there are 2,500 museums in the United States alone.

• Museums attract more visitors per year than NASCAR, the NFL, and the MLB combined.• The member base of museums is in the habit of returning to their museum at least once per year to “see what’s new” and has grown accustomed to paying a surcharge for traveling exhibitions.• Museums have realized dramatic additional revenues to their bottom line when hosting a traveling exhibition, and many museums now have dedicated spaces for traveling exhibitions. The larger the exhibition name, the larger the draw for the museum.

• There is limited inventory of “blockbuster” traveling exhibitions. Less than ten blockbuster exhibitions are currently touring and each can only visit a market once every five years, with some only making return engagements once every ten years.• Seeing the potential in traveling exhibitions, some of the world’s largest entertainment promoters have begun booking and creating their own cultural centers, increasing demand for blockbuster exhibitions, while the inventory of such exhibitions remains low.• Given these factors, cultural centers and museums are constantly looking for high-quality traveling exhibition content that is timeless, timely, has popular appeal, and has authentic objects.• If 20 of these museums or cultural centers are booked for the typical six-month run, this would book the tour for ten years.   

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APPENDIX I—INDUSTRY OVERVIEWCONTINUED

• Traveling exhibitions evolved into traveling attractions in the 1970s. As a result, key metrics evolved such as audience head counts, revenues, and associated expenses.

• Exhibitions became significant events creating enormous publicity for the museums hosting them and driving attendance to unheard-of levels thus changing the public’s attitudes toward, and expectations of, many museums.• The Treasures of Tutankhamun (King Tut) exhibition was arguably the first international blockbuster traveling exhibition. Starting in Paris in 1967, that exhibition traveled around the world setting attendance records:

• In nine months of 1972 it drew 1.7 million patrons to the British Museum in London.• Tut toured the US four years later drawing 836,000 to the National Gallery in Washington over a 117 day period (7,000 people per day); 900,000 visitors in 121 days in New Orleans; and, ultimately attracting more than 3,000,000 visitors on its seven city tour. Tut introduced American audiences to the excitement of an “event” at a museum.

Growth and CostsThe industry continues to grow and prosper. While King Tut remains the biggest attraction on a per venue basis, human anatomy exhibitions are the biggest touring exhibitions in terms of revenues and attendance. As these tours decline, others will invariably be required to replace them. • In most cases, the need to produce blockbuster type exhibitions has increased the size and cost of production. However, it is important to note that the current costs associated with blockbuster traveling exhibitions are both fixed and variable. Fixed costs can be associated with licensing fees, and costs to produce hard assets, while variable costs can be associated with creating scenery, video assets and producing the exhibition. Both the fixed and variable costs can be controlled with oversight to a much greater degree than most traveling exhibitions currently employ.• Today, the average development cost for a successful exhibition generally exceeds $4 million to create and excludes the cost of the artifacts. Again, this number can be controlled through thorough oversight and careful negotiation with vendors.   

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APPENDIX I—INDUSTRY OVERVIEWCONTINUED

Products • While dinosaurs and historic collections have typically been the focus of traveling exhibitions, themes are expanding into popular culture to include Star Wars, Marvel Comics, and James Bond. Several of these themes have been successful and well received. Venues• Museums

• Blockbuster exhibitions have been significant in changing the dynamics for museum programming. These institutions now rely on temporary, traveling exhibitions to draw visitors and create new revenue streams.• Museum patrons now expect, and are willing to pay additional fees for, new attractions (as many as two to three times per year). This now extends to zoos and aquariums, which have expanded their offerings beyond their permanent attractions by offering special exhibits.• Museums have now become dependent on the revenue streams from traveling exhibitions to retain members, attract new members, and draw visitors to their institutions.• Income generated by successful touring exhibitions has become a critical component to the financial stability of the institution and its ability to satisfy its mission locally.

• Non-Museum• In response to both a lack of suitable museum space and lack of museum interest in certain types of exhibitions, exhibitors and promoters have moved to exhibiting in non-traditional venues such as commercial venues, concert halls, and convention centers. Many promoters familiar with the traveling exhibition model are willing to pay sizeable advances to book popular exhibition content.• Hotels, casinos, and mall operators (particularly in overseas markets) are also creating dedicated exhibition spaces to generate foot traffic and provide additional forms of entertainment at their locations.

  

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APPENDIX II—COMPARISONS

• Given its unique and timeless content, and the popular appeal of the Michelangelo brand name, The Michelangelo Experience can expect to see total attendance figures similar to those of the world’s most popular traveling exhibitions.

1. Titanic, 2. Bodies, 3. King Tut

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1. Titanic, 2. Bodies, 3. King Tut, 4.Tut:Replicas, 5. Real Pirates, 6. Harry Potter, 7. Average Weekly Attendance

• As a rule, traveling exhibitions tour on a five-year life cycle. However, blockbuster exhibitions like The Michelangelo Experience can continue to generate high weekly attendance—a key metric—for a much longer period. For example, Titanic, has been touring for close to 15 years with similar attendance as when it first opened.

APPENDIX II—COMPARISONS

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APPENDIX III—ACTIVATION PLANS

TME’s activation plans for its Exhibition include a first touring unit launching in late 2011 and a second unit launching in Q2 2012. Additional plans are in development for a third traveling exhibition in Asia that has the potential to be fast-tracked following initial success.• The design team is already underway, preparing the Exhibition for construction and opening.• The Exhibition will be presented in venues of highest repute in the world’s major markets, where TME has existing relationships with the regions’ most prominent museums and promoters.• Each traveling exhibition will remain in a market for between four to six months, with the possibility for extension being built into each venue agreement as demand warrants.• The Exhibition opening will be preceded by a comprehensive public relations and marketing campaign, as well as a customized digital strategy, which will generate awareness several months in advance of opening and throughout the Exhibition’s run.• The Company has relationships with some of the industry’s most experienced and efficient operators, who will keep costs low and customer service at a maximum.• Each Exhibition will be accompanied by a customized art gallery and accompanying retail store that will act as a final gallery. Forced exits of this kind increase overall revenues by 20% according to conservative successes of similar properties.• A special event and corporate booking plan is in development to maximize revenue opportunities in each market.• Initial discussions with potential sponsors indicate initial commitments have the potential to reach up to $3.5 million in Year One.

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APPENDIX III—ACTIVATION PLANSVENUE AND PARTNER IDENTIFICATION

TME has a robust network both within the museum community and in the wider promoter community. Both groups recognize the revenue potential of traveling exhibitions. • The Company has already been in contact with potential partners around the world and has significant interest in Asia, Europe, and South America. TME’s numerous ties to the North American museum community have generated preferred interest in the United States, Canada and Mexico. • TME will work with a market’s major museum—one with the largest database and largest marketing, education, and outreach budgets.  • In markets that lack museums meeting this criteria, the Company will focus on cultural centers that centrally located, have high foot-traffic, and are close to mass transit. 

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APPENDIX III—ACTIVATION PLANSMARKETING

The Exhibition’s Marketing Campaign will utilize the most iconic and eye-catching images associated with Michelangelo and entice the public to experience the genius of the world’s greatest artist.• An awareness campaign will begin three to six months prior to opening to build anticipation and will be accompanied by placing tickets on sale.• As the opening approaches, the media buying strategy will change to a “paint the town” approach such that any resident or visitor in the market will be aware of The Michelangelo Experience and view it as the “must-see” event of the decade.• The on-going marketing campaign will feature weekly messaging and promotions in each market to keep the Exhibition at the top of mind for residents and visitors.• Targeted regional outreach will also focus on local residents and early adopters, offering them preview admission at discounted rates to increase word-of mouth marketing.• Several promotional packages developed with local Chambers of Commerce will create regional buzz around the property. • This will be accompanied by a national campaign in tourist publications prior to the first opening, creating overall awareness for the Exhibition as it continues on its routing. • A digital and social media strategy will engage visitors before, during, and after the Exhibition experience at rates that are often 10% of traditional media.  

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APPENDIX III—ACTIVATION PLANSPUBLIC RELATIONS

The Company’s public relations campaign will begin immediately, building grass roots, local and national support for the project behind the scenes, leading to a major announcement initiative three to six months prior to the opening date and a gala VIP reception and preview prior to opening.

• In an ongoing strategy, TME will release two feature stories to the media a week for follow up and will be in constant contact with local media. • The Exhibition will feature two lecture series and events each month. • Outreach to schools will focus on, but not be limited to, art, history, and religious instruction. Exhibition managers will also engage with corporations to book private functions in the Exhibition space and to become sponsors of the Exhibition.   

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APPENDIX IV—REVENUE POTENTIALTICKET SALES

Before entering each market, TME will carefully assess the landscape, identifying pricing for all similar events, including previous visits from other traveling exhibitions. This will ensure competitive pricing models and inform marketing plans to minimize competition. • Pricing will be scaled to accommodate adults, children, seniors, students, school groups and private groups. Weekend ticket pricing will be at a premium. Numerous discounts will give potential ticket buyers the sense of value without undermining our average ticket price (projected at approx $22.50). • Ticket sales will be available at the box office, at participating retailers, online, through the TME education department, and via group sales agents. • The planned ticketing system with a major ticketing provider generates an additional revenue stream, whereby a portion of each ticket sold is paid back to TME to ensure long-term partnerships.   

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APPENDIX IV—REVENUE POTENTIALRETAIL—PHYSICAL STORES AND ONLINE

The Michelangelo Experience Retail Program will accompany The Michelangelo Experience touring exhibition, serving as the primary retail outlet for all merchandise products created to commemorate The Michelangelo Experience tour.

• The retail program will consist of one primary distribution center, exclusive vendor relationships, physical retail stores that will serve as the final gallery at each Michelangelo Experience exhibition and an e- commerce outlet.

• The vertically integrated program will guarantee uninterrupted access to inventory.  • Immediately following the exhibition experience, the retail store has the unique opportunity to generate a high volume of sales ranging from small collectibles to high-end and exclusive designer lines.

• The online component of the merchandise store will take advantage of the growing interest in Michelangelo created by the exhibition, making specialized and exclusive products available around the world. • The retail store will also be responsible for the sale of audio guides and commemorative photographs.   

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APPENDIX IV—REVENUE POTENTIALSCULPTURE SALES

The Sculptures on display in The Michelangelo Experience Exhibition are cast in fine-art limited editions of 12. Recent fervor in the art world for posthumously cast original edition sculptures of this kind has driven up the value for these limited edition, full-scale casts of Michelangelo’s works. • Certain of these limited edition full-scale sculptures will be available for sale to exclusive buyers. The net profits of these sales will flow to the Company’s bottom line. • Given their rare nature—only 12 of each will ever be made—their authorization by the Casa Buonarroti, and their sheer beauty, it is difficult to speculate on the magnitude of revenue that these sculptures can generate for the Company. However, TME reasonably proposes that these sculpture sales will contribute $60 million in revenue. This additional revenue is currently not reflected in the projections.  

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APPENDIX IV—REVENUE POTENTIALTHE MICHELANGELO ART GALLERY

• Past performance indicates a potential penetration of between 1.5% and 3% in these commercial gallery sculpture sales.

• As these busts are limited editions, they will increase in value as demand increases. For example, busts of the Madonna from Michelangelo’s Pieta of St Peter’s first retailed for $15,000 and now retail for $75,000.

• Busts of 15 sculptures will be produced in four different materials, each in edition of 500, allowing for a potential inventory of 30,000 busts.

• Other reduced scaled reproductions in various sizes of the 19 Sculptures in the collection will also be cast in limited editions of 500 each in, bronze, silver, stainless steel and acrylic.   

In the exit gallery of the exhibition, visitors will have the opportunity to buy perfect reproductions of the full-size busts of many of the sculptures.

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The Michelangelo Experience, Inc.(855) 326-4767

www.michelangeloexperience.com