A review of Rothko a Firenze considers how Florence shaped Rothko’s art, and what is lost when his paintings are reduced to financial assets. By Archie Maughan-Taylor Mark Rothko, Interior, 1936, oil on hardboard, 60.6 x 46.4 cm, National Gallery of Art, Washington, Gift of The Mark Rothko Foundation, Inc., ©1998 by Kate Rothko Prizel and Christopher Rothko / Artist Rights Society (ARS), New York / SIAE, Rome. Photo courtesy National Gallery of Art, Washington. Incandescent

Even after closing its doors, the show lives on. Virginia Overton's Hilux is now to be placed in a UK sculptural garden... Photo: Kristof Jeney Tien Albert A man on a ladder dismantles a long metal chain from the ceiling, at the end of which is attached a large brass bell. It’s part of The Soothsayer’s Chorus, an exhibition exploring the female voice through the allegory of the Ancient prophetess Cassandra, who was doomed to speak the truth without being believed. Today is t

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,

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

Flora Gilchrist Audrey Hepburn in costume for My Fair Lady , 1963 Cecil Beaton Archive © Condé Nast Photography acts as an imaginative tool, able to capture landscapes and windows into what once was. Positioned at the height of new optical technology, photography in the early twentieth century especially filled this liminal, transcendent space of reimagining people through a lens. The work of Cecil Beaton captures this optic essence perfectly, acting as a literal manifestatio

Flora Gilchrist Mayara Ferrão, Álbum de Desesquecimentos, 2024. On display at The Ancestral: Afro-América exhibition at the Centro Cultural Banco do Brasil (CCBB), August 2024. Brazil has a complex, substantial and interconnected relationship with West African countries and North America. Ancestral ties from Brazil’s role in the transatlantic slave trade as a Portuguese colony transporting and receiving slaves from Nigeria, coupled with the modern-day movement of immigrant