The viewing box is D50; daylight color balance, while the gallery's print lights are incandecent – probably about 4K colour temperature, Phillips's so-called "Natural" P30 bulbs.
When you make prints there is always the issue of what the light under which it will be viewed is like. Will it be the warm lighting in someone's den (likely halogens), the florescents in an office, or the diffuse daylight in a dayroom?
What I do is print for D50 and then let it go at that. It's a compromise. Also, current inks and fine art matte papers have little metamerism so not that much shift is seen.
Michael