The Courtauld is characteristically self-referential in Salman Toor’s first European solo exhibition, Someone Like You. They picked the right man for the job. Does this look familiar to you?... Salman Toor, The Bar on East 13th (2019), Oil on panel, 91.4 x 121.9cm, Private Collection. © Salman Toor; Courtesy of the artist, Luhring Augustine, New York, and Thomas Dane Gallery. Photo Genevieve Hanson Tien Albert During Wayne Thiebaud’s retrospective at The Courtauld Gallery thi

The Belgian artist was already being compared to his peers and followers before his death. Gagosian's retrospective fittingly continues the dialogue. René Magritte, La Malédiction (The Curse), 1931, © 2026 ADAGP, Paris, and DACS, London. Honor Cockroft René Magritte once said: “We only perceive the world behind a curtain of semblance.” Entering the Gagosian’s new exhibition, we step into a theatrical scene quite aside from the vast, airy Christo installation that preceded it

Eliza Pritchett reviews Amar Kanwar’s new exhibition at Serpentine North, opened 23 September 2026, Amar Kanwar. Photo: Monica Tewary. Hans Ulrich Obrist, art director of the Serpentine, opened Amar Kanwar’s exhibition with a simple proposition: “Art unites us.” It is the sort of maxim that can easily collapse into sentimentality. Yet, as Kanwar began to explain how the exhibition came about, the phrase took on a less comfortable meaning. For Kanwar, finding common ground isn

Isabella Jones Bartle On the morning of 3 September 2026, Elena Crippa, the Courtauld Gallery’s senior curator of contemporary art, welcomed the press to the unveiling of Ella Walker’s commission for the Courtauld Gallery. The intimate unveiling allowed viewers to peruse Verdaccio Wall and The Studio across the John Browne Entrance Hall and Ticketing Hall, hung between two windows overlooking the gleaming Somerset House Courtyard and above the curving staircase leading down

Gaia, a monumental work by Bharti Kher, has been placed just outside the V&A to entice visitors in. Once inside, can the curators keep them there? Bharti Kher stands next to Gaia, her new four-metre tall sculpture at the V&A... Photo: David Levene Tien Albert Just outside the V&A's entrance on Exhibition Road, everyone is taking pictures of Bharti Kher’s new monumental sculpture, Gaia. That’s kind of the point. Four metres tall and painted inviting shades of green and purple,

The performance of Tierra Bendita, by the Ballet Flamenco de Andalucía, at the Sadler’s Wells Flamenco Festival, 2026. Image credit: Teresa Montellano Sofia Stefani In Esther Merino’s En Tierra de Hombres, a suite of songs, flamenco courses through the body like fire, burning without consuming. As Merino sang over the course of an hour, her voice reached across anger, love, and despair. Her hands and face moved to fit each song, following her voice—her hands trembl

Dana Aben Accepted but never understood... Image: Barbara Hepworth, Sculpture with Colour (Oval Form) Pale Blue and Red, 1943 © Bowness, Image © The Hepworth Wakefield. Photo: Mark Heathcote "In a way my colour has been accepted but never understood," Barbara Hepworth once remarked. It is this statement that forms the conceptual foundation of Hepworth in Colour at The Courtauld Gallery, the first exhibition devoted entirely to colour in the artist's work. Co-curated by Dr Ale

Honor Cockroft Blurring boundaries at Saatchi Yates... Photo: Courtesy of Saatchi Yates Make-up artist Isamaya Ffrench blurs the boundaries between art practice and the practical at Studio Iron. There is something deliberately unstable about Studio Iron, the inaugural exhibition of Isamaya Ffrench’s newly launched design company. Installed at Saatchi Yates, the show unfolds across the vast open gallery space in a convergence of art, design and installation. Materials and surf

Eliza Pritchett a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier. Exterior view © LANZA atelier, Photo Iwan Baan, Courtesy Serpentine. Now in its 25th edition, LANZA atelier's Isabel Abascal and Alessandro Arienzo design a humbly impressive pavilion for Hyde Park's Serpentine Gallery. After a quarter-century of increasingly complex temporary structures, the most significant milestone in Serpentine history is also its least flashy. a serpentine, t

Milla Peerutin Tracey Emin, I Need Tomorrow, 2026... Photo: Counter Editions On Wednesday evening at the London Original Print Fair, Counter Editions unveiled a suite of six new lithographs, entitled I Need Tomorrow, by Tracey Emin. This comes as a complete shock to many, even Emin herself, following her landmark retrospective, A Second Life currently on show at the Tate Modern. By the time most people heard of the series, they had almost entirely already sold out.  I Need To