In the largest column-free hall in the country, sightlines run for hundreds of feet and a weak wall has nowhere to hide. One team designs, builds, installs and supports the exhibit and its LED wall together, for every show at the Kay Bailey Hutchison Convention Center and across DFW. One drawing set, one fixed number, one crew on the floor.
Not because anything is broken. Because of a hundred small things nobody owned: a cabinet seam through the logo, a processor visible under the counter, content letterboxed inside a wall that isn’t 16:9, booth lighting washing out the screen it’s aimed at. Walk any aisle at the Dallas Auto Show or Fan Expo and you can pick these booths out in seconds. Attendees can’t name what’s wrong. They just register that something is slightly off — and move on to the stand next door.
If you’re searching for video wall rental in Dallas, you have two routes. An AV house will rent you panels and a technician, and if you already own a booth that’s a perfectly sensible thing to do. Or an exhibit house designs the wall into the structure from the first sketch, so the screen and the space it lives in are one object rather than two things standing near each other.
Pure Exhibits does the second, as a genuinely turnkey programme: design, engineering, fabrication, graphics, the wall and its processing, show services paperwork, install, on-floor support and strike — one vendor, one contract. We build for the shows that fill the Kay Bailey Hutchison Convention Center — from the Dallas Auto Show in the largest column-free hall in the country to Fan Expo Dallas and the corporate meetings that anchor the downtown calendar — and where large-format LED belongs in an exhibit, it’s drawn, engineered and quoted as part of the build rather than bolted on at the end.
Stills don’t do LED justice. These clips are the walls at work on live show floors — motion, brightness and crowds, the way an attendee actually meets them.
A wall that tries to be attraction, explainer, stage and backdrop simultaneously ends up mediocre at all four. Decide the primary job before deciding the wall.
In Dallas’s column-free hall, sightlines run for hundreds of feet with nothing to interrupt them — motion at height is the most reliable way to be noticed across that distance. Large simple frames, slow movement, almost no text.
Presentations impose their own floor plan: a standing crowd needs the wall raised, a bay deep enough to keep them out of the aisle, and directional audio so your fifteen-minute talk isn’t your neighbour’s problem.
Booth staff live or die on the opening seconds. A wall running something genuinely worth watching turns the approach around — visitors drift in to look, and your team joins a conversation already started.
Take the LED around a corner or from floor to ceiling and it stops reading as display and starts reading as place. That environmental effect is the one thing print can’t reproduce, which is precisely when a wall earns its budget.
Messaging moves faster than a print schedule. On a wall, tomorrow’s positioning is tonight’s file upload; on printed graphics it’s a reprint, a reshipment and a second invoice per change.
Every stand gets photographed — by your own team on day one, by visitors after. Design one elevation of the wall for that camera frame and the exhibit keeps working long after the hall empties.
Six stages under one roof and one contract. In Dallas the calendar is driven by the venue: floor plans due thirty days out, rigging approvals and inspections before that, advance power before that again.
Your show, your hall at the Kay Bailey Hutchison Convention Center, your footprint and what you need to happen inside it. We look at which aisles feed your space and where the crush comes from between sessions, because that, not your budget, decides how big the wall should be.
Week 1
One model resolves everything at once — structure, wall, lighting, circulation — so approval is of the finished object, not a booth sketch plus a separate AV line item hoping to fit together later.
Weeks 2–4
Engineering drawings for the frame that carries the wall — ready for KBHCCD’s approval and inspection process — alongside the written content spec your agency needs: pixel map, safe areas, seams, formats.
Weeks 4–6We assemble the complete exhibit in our own shop, wall powered, content looping, before anything is crated. A fault discovered there is an afternoon; the same fault discovered in Dallas is your show.
Weeks 6–10
Floor plans filed inside the 30-day window, electrical load ordered on advance rates, rigging approved and inspection fees budgeted, freight booked into the marshaling yard. Dull, decisive, done early.
Weeks 8–12
One crew builds it in your targeted move-in window through the Lamar Gate dock. A technician stays through show hours with spare cabinets. The same team strikes it and ships it out. You manage one relationship from first sketch to empty floor.
Show week
Swap steps 02 and 04 for a real render and a shop photo when you have them. A render beside the finished booth is the most persuasive image an exhibit house can show.
Footprint matters less than how far back someone can stand — and even in Dallas’s enormous halls, most booths are still read from a ten-foot aisle. The most common mistake in trade show LED screen rental is buying more wall than that aisle allows. Starting points, not rules — we size properly once we’ve seen your floor plan.
At this size the mathematics are against a full wall: it swallows the budget and the floor at once. A single oversized display in the back wall buys the same stopping power and keeps the footprint usable.
Twenty feet of frontage is where a real feature wall starts paying. Your audience stands within touching distance here, which makes this the rare case where a finer pitch is worth its premium.
An island wall performs for the aisle and the interior at once, and at this scale it carries load. From here on the wall is structure — engineered, approved, inspected — not a screen leaned against one.
In Dallas’s column-free hall especially, form beats footage: a curved or double-sided run works several sightlines at once, where one huge flat rectangle spends everything on a single approach.
The study comes before the sketch: how the hall feeds your position, where people slow down, what has to land at forty feet and what at four. In a column-free room the long view matters more than anywhere — there is nothing between your wall and someone ten aisles away, which is an opportunity only if the wall was designed for that distance.
Integration is a hundred small drawings: cabinet depth swallowed by the wall build-up, cables routed through structure, the processor cased in millwork, the screen edge dying cleanly into its surround. Skip them and the wall reads as rented no matter what’s playing on it.
An LED wall is the brightest thing in your space and most lighting plans pretend otherwise. We set booth lighting against measured screen output — people lit, product lit, and the wall still reading punchy rather than washed out under the house rig.
Building a video wall is straightforward. Getting one into the Kay Bailey Hutchison Convention Center on schedule is the part that catches people out, because most of what it depends on is controlled by someone other than you. We handle all of it inside the exhibit programme.
The largest column-free exhibit hall in the United States. Sightlines run uninterrupted for hundreds of feet, which rewards walls designed for the long read — and exposes ones that weren’t. Scale that flatters good design and forgives nothing.
Forty-foot ceilings beneath the building’s twin parabolic arches — comfortable clearance for large suspended walls and tall structures, with the roof geometry itself worth designing against rather than ignoring.
Over a million square feet of exhibit space connected to the Omni Dallas by skybridge. Hall assignments vary by show, and clearances vary by hall — we confirm the specific room before design sign-off.
A multi-billion-dollar reconstruction is underway, targeting completion around 2029. Hall assignments and logistics are shifting year to year while it phases in — a floor plan that worked at last year’s show is worth re-confirming, not assuming.
You won’t find a per-square-foot panel price here, because the wall isn’t sold apart from the exhibit that carries it. What we do instead is put a cost on each decision early — size, pitch, shape, hung or grounded — so the trade-offs happen in design, not on the final invoice.
One fixed figure covers the programme end to end: design, engineering, fabrication, graphics, the wall and processing, install, show-floor support, strike. What the venue sells you directly — space, power, drayage — stays itemised on the venue’s paper, as it should.
Yes, as the built-in centrepiece of a custom exhibit. For Dallas shows the wall is designed into the booth from the first drawing, then supplied, installed, operated and struck under one contract. If all you need is panels for an existing stand, a straight AV house is the better fit — and we’ll tell you so.
As one number for the exhibit, not a rate per panel — the structure holding the wall is part of the same build. Size drives most of it, then pitch and shape, then rigging: at KBHCCD, overhead work carries venue approval and inspection fees that a ground-supported design avoids entirely. Send the show and the footprint and the number comes back fixed.
LED almost always, for exhibits. An LED wall is built from cabinets that butt together with no visible join, so it reads as one surface at any size. An LCD video wall is a grid of panels, each with a bezel, which means thin dark lines run through your image wherever panels meet — and they land across your logo as often as not. For anything carrying brand, the seams are the whole problem.
Work backwards from the job. If the brief is being seen down a column-free hall where sightlines run forever, very little beats a big, well-placed wall. If the brief is long, technical, seated conversations, spend the money on the room instead. We’ll tell you plainly when LED isn’t the answer — an under-fed wall is an expensive way to look unprepared.
Yes, and we’d rather you kept your agency. What we supply is the technical brief they need: exact pixel dimensions, aspect ratio, safe areas, seam positions and file formats, delivered at concept stage rather than the week before the show. Most content problems on a show floor are specification problems, not creative ones.
Our technician is on site through show hours with spare cabinets. LED walls rarely fail dramatically; they fail as one dark cabinet in the corner of your brand mark, which is a short fix for someone present and a ruined stand for three days for someone who has to be called in. Because the wall is part of our build, there’s no question whose problem it is.
Primarily the Kay Bailey Hutchison Convention Center downtown, including the 203,000-square-foot column-free hall and Hall F under the parabolic arches, plus hotel and corporate venues across DFW. The venue is mid-rebuild through roughly 2029, so hall assignments shift year to year — we confirm the specific hall and its clearances before signing off a design.
Plan on three to four months for a custom build with integrated LED. In Dallas the pinch points are administrative: floor plans due to the venue thirty days before move-in, rigging approval and advance electrical before that, and a content spec your agency needs early enough to actually design to.
The Auto Show, Fan Expo, a corporate meeting downtown — tell us the event, the footprint and what has to happen inside it. You’ll get an honest read on whether large-format video earns its keep in your space, what job it should be given, and one fixed number for the entire build.
