For the October Art Diary, I feature exhibitions by several artists whose work I have championed through essays and exhibitions, as well as solo and group shows that explore environmental, social, and spiritual concerns. Read on for news of exhibitions by Michael Landy, Ana Maria Pacheco, Robert Smithson, and Suzanne Treister, among others, together with shows at Compton Verney, Firstsite, Pallant House, and the Engelundsamlingen in Vrå.
Alan Caine was an innovative and quietly charismatic teacher of art in the Adult Education Department of Leicester University. He took a primary role in the conception, funding and design of the University’s Attenborough Arts Centre, which opened in 1997. He was the Associate Director and continued teaching there until he was almost 80 years old. In the midst of that busy academic life, he took time, in the upstairs studio of his redbrick terrace house, to paint and draw. Caine’s art grasps at the essence of the everyday natural world. Its detritus found its way into that Leicester studio: fallen leaves, dried grasses, tangled vine stalks, eggs, rugs, and string. In these humble elements, their unfolding patterns, colour and geometry, Caine discovered a profound sense of wonder. Through the familiar and ordinary, he opens our eyes to the possibilities of the beyond.
‘Everyday Wonder to Revelation’ at Clare Hall, Cambridge, is an exhibition providing a rare opportunity to see paintings by Caine. These paintings delve into the core Neo-Platonist idea of the oneness of the world, the nodus mundi. We see this in his depictions of everyday objects, such as rugs, mopheads, carpets, and bundles of cloth. Although his subject matter is humble, the intricate depth of his draughtsmanship reveals unity and cohesion. We see it too in his expansive and luminous landscapes. When Caine blends his perceptions of space and shimmering light in the landscape with his exploration of the core in everyday things, he presents us with a vision of worlds beyond. His images invite us to step through a veil into barely imagined possibilities. Through his exploration of the small, the infinite beckons; through his exploration of the wonder of the everyday, revelation becomes possible.
In the essay I wrote for the exhibition catalogue, I note that: “Without reference to standard religious iconography and with a primary focus on landscape, still life, and portraits, Caine imbued and infused his work with spiritual reflection and with spirituality itself. That he did so in ways that allow those who do not share his beliefs to enthusiastically embrace and appreciate his work for their many other compelling qualities is a testament both to Caine’s skill as an artist and the subtlety of his understanding of the connection between earth and heaven.”
‘Terry Ffyffe: A retrospective – from Preston to London’ is currently at Gallery Unbound in Northcote, Australia. Born in Melbourne, Ffyffe studied at Swinburne University before living the bohemian painter’s life in Carlton and travelling extensively through the Australian outback. His path eventually led him to London, where he lived and worked for more than 40 years. There, he came to the attention of leading art critics, including Edward Lucie-Smith and Daniel Farson, who connected him to the London School. Over his career, he painted across many genres: luminous portraits, confronting political works, expressive nudes, spiritual meditations, and bold allegories that reveal his humour and depth.
This retrospective is a powerful journal of his pilgrim search to live truly to both his religious faith and his vocation as a figurative artist. His canvases remain striking, beautiful, and forever thought-provoking to those who take the time to look closely, as they are raw, confronting, and always deeply human. More than 300 of his canvases and sketches have been brought home to Melbourne, offering a rare chance to step inside a lifetime of fearless devotion to paint.
Ffyffe’s friend Denis Taylor has also curated an online exhibition of Ffyffe’s work. He writes: “Terry Ffyffe was an artist who I became a friend of after I chose two of his painting for a major exhibition in Stockholm, Sweden (Heart 2 Art) We became quite close and visited each other’s studios many times for many years … He was a painter that had a deep belief in God and the mission of an artist, that was to spread the joy, the passion and the commentary that Art can provide for the global society.“
I was able to organise Ffyffe’s final exhibition before his untimely death, which was held at St Stephen Walbrook. In a speech about his final series of paintings, I spoke of there being a sense of the fragmentary in the works: “with these fragments, whether geometric shapes or free-flowing patterns, then being linked and united to form a harmonised whole. Terry’s art is, therefore, an art of reconciliation … this is a key aspect of his ‘Cosmic ‘art which comes from his experience of meditation; of entering the world of ‘liquid light‘ where the realisation of the unity of all things, the oneness of all creation becomes certain knowledge.”
Rob Floyd was another artist who exhibited at St Stephen Walbrook during the same time period and was part of one of the artist collectives, of which Terry Ffyffe was also a member. He has a show at Manchester Cathedral, entitled ‘The Gentler Saints‘, which features paintings and drawings of saints ranging from Mary and John the Baptist to Francis and more localised saints, such as Kevin and Melangell. Most of the images depict saints alongside various animals connected to their stories and legends, and the exhibition explores their relevance today in terms of our relationships with the environment, faith, myth, and ourselves. The exhibition seeks to suggest that the gestures of the saints are both mythically and imaginatively resonant with our contemporary lives, offering ways in which we may be able to harmoniously connect and relate to both our outer and inner worlds.
The vibrant paintings of Eddy Aigbe reimagine holiness, not as something distant or reserved for the few, but as something lived, struggled through, and embodied in the margins. Drawing from an exclusive personal body of work and two major commissions – Stations of the Cross for Hodge Hill Church (Birmingham), ‘The Stations reimagined‘ and ‘We Are All Saints’ for All Saints with Holy Trinity, Loughborough – ‘Icons of the Invisible‘ is at Queen’s Foundation for Ecumenical Theological Education, Birmingham, for three days in October. Through textured layers, bold symbolism, and expressive human forms, ‘Icons of the Invisible’ paints a path through suffering, resilience, and collective grace. The traditional journey of Christ’s passion is placed in dialogue with contemporary struggles for dignity, belonging, and justice—especially within Black communities. The saints depicted are not only religious figures, but echoes of ancestors, activists, caregivers, and everyday people who carry the weight of history with quiet strength. This exhibition asks: Who do we overlook in our sacred stories? What does it mean to bear a cross today? And how might we see the divine in each other—especially in those hidden by history?
The first major UK retrospective of prominent post-modern artist Anthony Lawrence is at The Palais des Vaches Art Gallery in Exbury through October. Featuring over 150 works of art, the exhibition includes many unseen works created by Lawrence at his family home in Tiptoe, and meticulously catalogued by his family. The work spans over five decades of the artist’s prolific career, showcasing the full spectrum of Lawrence’s diverse oeuvre, which includes still life, portraiture, landscape, and religious iconography. Lawrence’s religious works include his ‘Stations of the Cross’ series, about which Michael Welzenbach wrote: “Lawrence has recently evolved to some important and significant changes in his work. The newest paintings are leaner; less concerned with narrative and more pointedly aimed at allegory. The recent series, Stations of the Cross, with all the religious connotations its title carries, nonetheless neatly sidesteps becoming too narrative or ‘cinematic‘ by the expedient of omitting the human figure altogether. Only the stormy skies and the perspectives of the cross change from panel to panel, suggesting the passage of time around the event, rather than the sequence of events itself.”
Mary Griffiths, who is exhibiting at Chappel Galleries, appropriates words used by her beloved Dylan Thomas to describe her work, writing that “These (paintings) with all their crudities, doubts and confusions are made for the love of Man and in praise of God and I’d be a damned fool if they weren’t.“ She recalls being moved by work in the V&A’s profound, thaumaturgical ‘Gates of Mystery: The Art of Holy Russia’ exhibition. Andrei Rublev remains a lodestar for her: “I feel such an affinity with his role and identity as cypher; it’s the antithesis of the self-aggrandising egomania of some here in the west. There are other ways of being.“
‘Lily and the Masters‘ is an exhibition of paintings by David Crawford at my current church, St Andrew’s, Wickford. Crawford is a Wickford-based artist and singer-songwriter. The works in his exhibition are a selection of paintings completed in the last three years. He is exhibiting a series of heightened colour studies of the Edwardian singer and actress Miss Lily Elsie, as well as versions of some of his favourite paintings by Old Masters such as Da Vinci, Vermeer, and Caravaggio.
Marcus West is another who has exhibited at St Andrew’s. He has a retrospective of his digital art at the offices of the British Computer Society in London. West’s journey with digital art began in the 1970s at University College Cardiff. He created geometrically-inspired line drawings by writing programs in FORTRAN that ran on the university’s mainframe computer, which in turn controlled a plotting device. Since the early 2000s, he has primarily used Pascal and Processing to create his images, enhancing them with Photoshop and Affinity Photo. He writes: “My goal is to create images with impact, complexity and subtlety, works that are striking but that do not reveal all their secrets at a single glance. A theme in some works has been a sense of Light existing in their hinterland, such that the works may offer a glimpse beyond, perhaps even a glimpse of transcendence.”
Modern Art Oxford is presenting ‘Prophetic Dreaming’, the first major UK institutional retrospective by pioneering digital and para-disciplinary artist Suzanne Treister. Spanning over 40 years of her radical, visionary practice, this exhibition traces Treister’s enduring engagement with the relationships between new technologies, networks of power, alternative belief systems, and the potential futures of humanity. The exhibition charts Treister’s early explorations with digital technology from her series’ Fictional Videogame Stills’, created on an Amiga computer, to ‘SOFTWARE’, a series of painted boxes and floppy discs which imagine hypothetical software applications, foreshadowing the apps through which we now mediate our daily lives. The exhibition also features a number of Treister’s expansive, multi-year projects, such as ‘Time Travelling with Rosalind Brodsky’, which navigates the 20th and 21st centuries through Treister’s alter-ego via an interactive CD-ROM.
The work of Sophie Lévy Burton explores what happens when emotion is distilled into pure colour and thought translated into shape and sensation. Hester Baldwin writes that: “Sophie’s work invites us to go beyond the intellectual frameworks of Abstraction and into a kind of visual dialogue, one that feels less like looking and more like listening. She doesn’t paint feelings; she paints their echoes, their aftershocks, and she does it with apparent effortlessness.“ Burton is an artist, writer, and editor. In 2019, she founded MONK, a magazine exploring the intersections of creativity and consciousness. Although she painted as a child, she lost touch with her artistic impulse during her studies in theology at Cambridge. It wasn’t until her 40s that she felt called back to painting. Influenced by artists like Gillian Ayres, Joan Mitchell, Mark Rothko, and Willem de Kooning, her work resonates with both spiritual depth and visual intensity. She is currently writing a memoir about her return to creativity through the psychic terrain of abstract painting.
Ana Maria Pacheco has returned to Ightham Mote with ‘A Modern Bestiary’, an exhibition of screenprints that explore the intersections of myth and morality in modern life. This is a rare opportunity to see Pacheco’s striking take on the tradition of the bestiary — the richly illustrated medieval book pairing animal imagery with human lessons. Twenty original screenprints are paired with playful yet poignant poems by George Szirtes to make up this remarkable artist’s book, creating a vivid dialogue between image and word. From platypuses to armadillos, these creatures are far more than just animals — they are sharp, witty reflections on the political, ecological, and social issues of our time. Pacheco is a sculptor, painter, and printmaker based in Ightham. Her Brazilian heritage influences her work, often focusing on supernatural themes that she incorporates into the unfolding narratives within her pieces.
In their first joint solo exhibitions in the UK, Mal Fostock and Bushra Fakhoury are unveiling never-before-seen works at Frieze, Mall Galleries, London. ‘INCLUSION‘ in the West Gallery is the first UK solo exhibition for Fostock. Fakhoury is exhibiting her new show ‘TRANSMUTE‘ in the North Galleries, and this also includes recent collaboration works with Fostock, her son. Known for his figurative art, Fostock’s work reflects a profound understanding of the human form and an intuitive approach to capturing emotional depth. Fakhoury’s metal sculptures use objects found in marketplaces across Europe. Her work emerges from the intricate intersection of personal experience, political insight, and a global vision. She is inspired by world issues, nature, and human society.
Hastings Contemporary is opening a new Michael Landy CBE RA exhibition – his first in Sussex – drawing on his personal life experience. Landy, for whom drawing has always been a crucial part of his work, is widely acknowledged as one of the most talented draughtsmen of his generation. Known more for his large installations and participatory works, such as ‘Semi-detached’, the reconstruction of his Essex childhood home at Tate Britain, or his kinetic ‘Saints Alive’ sculptures shown at the National Gallery, in this exhibition he reveals a quieter and more intimate consideration of the world around him by presenting a group of intensely personal drawings relating to his own experience of testicular cancer and his father’s tunnelling accident. The exhibition also includes Landy’s second series of ‘Nourishment‘ etchings, which sit, perhaps ironically, within the tradition of Botanical Drawing. Finding beauty in the ordinary, giving new meaning and dignity to that which is passed over by most, Landy elevates the everyday while bringing our attention to simple complexity.
Robert Smithson was instrumental in coining the idea of Earth Art in the 1970s through his interest in origins and primordial beginnings, the archetypal nature of things. He realised some of his most important works in Europe and was fascinated by the North Rhine-Westphalia (NRW) region’s geological and industrial heritage. The Josef Albers Museum presents ‘Robert Smithson in Europe‘ in the local context of the Ruhr area and in its award-winning new building at Bottrop. This exhibition brings together, for the first time, Smithson’s artistic production in the Netherlands, Italy, Great Britain and Germany, with a special focus on the NRW. Significant works include the 1969 works ‘Heerlen Soil and Mirrors’, ‘Essen Soil and Mirrors’, ‘Chalk-Mirror Displacement’, and works relating to the 1971 earthwork ‘Broken Circle/Spiral Hill’.
Kicking off a long-term collaboration between multidisciplinary artist Yulia Mahr and Compton Verney, a new installation exploring the porous line between dreaming and waking worlds has been unveiled in their Chapel. ‘Speaking in Dreams‘ is a large-scale sculptural and photographic installation by Mahr that responds to the rare “Capability“ Brown-designed Chapel. Using sculpture, photography, and elemental materials such as ash, charcoal, and taxidermy, the installation explores themes of anxiety, displacement, transformation, and ritual. Mahr’s work is deeply personal yet invites universal reflection, encouraging us to reconsider our relationship with nature, spirituality and the unseen forces that shape our lives.
2025 is the 950th anniversary of the foundation of Chichester Cathedral. Its Norman and Gothic architecture has housed great art and design for nearly 1000 years: from 12th-century Romanesque reliefs depicting the ‘Raising of Lazarus’ to 18th-century neo-classical memorials by John Flaxman. In the 20th century, the Dean and Chapter took the bold decision to commission modern artists, thereby cementing its status as a religious art centre in Britain. ‘Modern Spirit: Studies for Chichester Cathedral’, an exhibition at Pallant House, brings together a rich selection of preparatory studies for some of the artworks in the extraordinary collection of modern art assembled by Walter Hussey, the Dean of Chichester Cathedral. The variety of designs demonstrates the breadth of the Cathedral’s commissioning ambition.
‘Visible/Invisible‘ examines how contemporary art approaches the church space, the symbols and images of faith at a time when atheism is strong in Denmark, and where churchgoers can be both the very faithful, but also, for the most part, people who only visit the church on holidays, or use the church as a more open spiritual and social space. With this exhibition, the art building in Vrå – Engelundsamlingen focuses on contemporary art that is created for the church and faith today.
Co-curator Lars Thiis states: “The renewal of the folk church also applies to the church space itself. The artistic decoration of the church space is an integral part of this continuous renewal, both in our old medieval churches and in completely new churches. The church space must keep up with the times, of course, while maintaining the beautiful cultural-historical ballast intact in the church’s atmosphere, form, and materials. The exhibition Visible/Invisible will depict and exemplify how artists and architects, in collaboration with parish councils, have interpreted and designed this renewal. A collection of examples that can provide inspiration for new thinking, an opportunity to think about human identity in time and at the same time emphasise the importance of each time generously creating a small marker as a contribution to the great cultural-historical narrative.“
Four visual artists and two architects, who together present very different approaches to the subject, have been selected to exhibit. The visual artists are Christian Lemmerz, Lea Porsager, Peter Callesen and Tina Maria Nielsen, with the architects FRANK MAALI & GEMMA LALANDA MLA/S and Tegnestuen VMB v. Mette Viuf Larsen. During the exhibition, an installation work and performance by the performance artist Inga Gerner Nielsen will also be introduced.
‘Heaven and Earth: The Garden of Cosmos‘ at The Morgan Library & Museum, New York City, is another performance work, on this occasion by Beijing and Los Angeles-based artist and scholar Bingyi. A collaboration between The Morgan Library & Museum and the Foundation for Spirituality and the Arts, this new performance work was conceived in conjunction with the Morgan Library & Museum’s fall exhibition, ‘Sing A New Song: The Psalms in Medieval Art and Life’.
Traditionally ascribed to King David, the Hebrew Book of Psalms is a collection of sacred poems that constitute the longest and most popular book of the Bible. These poems include expressions of lament and loss, petitions and confessions, as well as exclamations of joy and thanksgiving— universal themes that speak to what it means to be human. Inspired by the timeless sentiments of Psalm 104—its reverence for creation, divine order, and cosmic harmony that transcend cultural boundaries—Bingyi authored an epic poem in Chinese that forms the foundation of this performance. Drawing on her longstanding engagement with both Abrahamic scriptures and Chinese philosophical traditions, she activates the Morgan Library & Museum Garden as a contemplative convergence of architecture, sound, and spirit.
With the artist clad in a flowing, ink-painted rice-paper garment, the performance becomes an embodied meditation—a living praise song to the harmony of heaven, earth, and the boundless cosmos—echoing Psalm 104’s eloquent exaltation of divine order and creation. Collaborating with Tibetan ritual master Nanmei and Yi singer Aluo, Bingyi summons the ancient power of chant and sacred verse. Together, they forge a shared sacred space that traverses Taoist, Buddhist, and Judeo-Christian cosmologies—a portal between form and formlessness.
CARAVAN’s ‘NOAH: A Future Hope’ exhibition has opened in Houston, beginning its three-year international tour. It features three artists – Hady Boraey, Brian Whelan and Yona Verwer – focused on climate catastrophe and caring for the environment and is an artistic exploration from the faith traditions of Judaism, Christianity and Islam on the importance of caretaking the earth, inspired by the story of Noah, the ancient flood narrative found within the Abrahamic faiths. What can the Noah’s Flood narrative teach us about how we should live to preserve the earth, both for ourselves and future generations? That is the question this poignant exhibition attempts to answer.
This quintessential tale is deeply embedded in the faith traditions of Judaism, Christianity, and Islam, which see Noah as a spiritual figure who serves as a reminder of humanity’s role as a protector, steward, and caretaker of creation. Through seven lessons drawn from the story of Noah, this timely exhibition, titled ‘NOAH: A Future Hope, ‘ features a unique blend of spiritual, cultural, and creative expression. Each artist has created eight paintings that serve to visually inspire our imaginations to heal our world by honouring our intricate connection to the earth as our sustainer, and by maintaining a sacred balance with all of life that is upon it. The exhibition premieres in Houston before touring for three years throughout North America, Europe, and the Middle East to art venues, cultural centres, and heavily trafficked sacred spaces.
‘The Land Sings Back‘ at the Drawing Room reimagines our relationship to our breathing planet through the work of thirteen artists with ancestries across South Asia, Africa and the Caribbean. Engaging with these cultural vocabularies through a lens of environmental justice, the exhibition approaches drawing as an active agent of social history, indigenous knowledge and ecofeminist philosophy, rather than as a tool of illustration, classification and conquest. Exposing entanglements between the human, vegetal and animal, the works explore how botanical consciousness can reshape relationships among multitudinous life-forms, making room for regeneration amidst indebtedness, infrastructural collapse and neocolonial inheritance. ‘The Land Sings Back‘ encourages a connection with ancestral wisdom and ecosophy through reciprocal, rather than extractive, relationships with the land during these times of war and accelerated toxicity.
The exhibition and its associated public programme engage with a range of pressing questions with research-led approaches around multispecies ecologies, coloniality and environmental justice. Growing from some of the artworks that were initiated at Way of the Forest, Colomboscope 2023-24 – an interdisciplinary arts festival in Colombo, Sri Lanka – it builds new and broader alliances with creative practitioners in the UK and African heritage practitioners. The recent and newly produced works engage site-led recordings, archival research, communal learning and expanded forms of drawing that incorporate sound work, zines, ceramics, and posters.
‘Naturalia Artificialia: The Hybrid Realm of Art‘ is an exhibition project that involves the Antonelli Casalegno Institute of Turin and the International School of Comics, with locations in Turin and Milan, emphasising the importance of dialogue between education, creativity, and artistic experimentation. The artists involved were invited to illustrate, through physical or digital artworks, using various expressive languages, their critical and multidisciplinary perspective on the coexistence, sometimes conflicting, of natural and technological processes, thus creating aesthetic narratives that challenge conventional taxonomies of art.
‘The Shelter of Stories: Ways of Telling, Ways of Dwelling‘ at Compton Verney includes over 100 objects that have been brought together to chart the relationship between storytelling and belonging. Works by icons of modern and contemporary art, including Paula Rego, Wassily Kandinsky, Hew Locke, Do Ho Suh, Yinka Shonibare, and Kiki Smith, alongside historic works and objects from the Bodleian Library, the British Museum, the Pitt Rivers Museum, and Compton Verney’s own collection. Co-curated with celebrated writer and cultural historian Marina Warner, the exhibition follows the release of her critically acclaimed book ‘Sanctuary: Ways of Telling, Ways of Dwelling‘, which explores travelling tales and the way myths, stories and works of art can foster togetherness across cultures and create a sense of belonging.
The beguiling landscape and ancient history of Wiltshire have inspired a new exhibition at the Wiltshire Museum, curated by the renowned artist, archaeologist, and broadcaster Dr Rose Ferraby. Featuring brand new work by Ferraby, alongside pieces by celebrated artists including Henry Moore, Paul Nash, Norman Ackroyd and Julian Trevelyan, ‘Downland: Art and the Archaeological Imagination in Wiltshire’ traces the relationship between the ancient past and our creative imaginations. Highlights include lithographs by Henry Moore, two prints of Stonehenge by Julian Trevelyan, including one that is little known, a dummy book designed by Eric Ravilious, a stained-glass window by John Piper and much more.
Firstsite and The Hepworth Wakefield present ‘Into Abstraction: Modern British Art and the Landscape’, an exhibition that explores the evolution of abstract art during periods of sweeping social change over the last century. Spanning the 1920s to the 1970s, the exhibition traces the development of abstract art across five decades, from early experiments in colour and form, through the influence of Surrealism, to the impact of war and the rise of industrial Britain. The exhibition brings works by some of the most influential artists of the 20th century to the Essex gallery, including Barbara Hepworth, Henry Moore, Duncan Grant, and L.S. Lowry. Together, their works offer an in-depth look at how these artists interpreted and influenced abstract art in response to the environments and times in which they lived. For Hepworth and her peers, abstraction was not an escape from reality but a means to explore essential relationships between people, places, and nature. Using formal qualities such as colour, shape, and line, artists sought to express both personal identity and collective experience, while offering ways to comprehend an ever-changing world.
Divided into five distinct sections, Into Abstraction considers landscape in relation to regionalism, class, sexuality, psychological anxiety, and industry. Bringing together seventy-five works — fifty-five drawn from the national tour and twenty presented exclusively at Firstsite – the exhibition reveals how artists used abstraction to offer insights and solace during periods of social and political turmoil. The exhibition not only emphasises the enduring power of abstraction but also demonstrates the dynamic interplay between the art form and the dramatic cultural shifts of the mid-20th century.
Also in Essex – at the Gibberd Gallery in Harlow – is ‘Touch Point’, a new exhibition celebrating a major gift to Harlow Art Trust, the art collection of late architect and local gallery owner John Graham. Revisiting a 2006 exhibition curated by Graham himself, ‘Touch Point‘ brings together works from his collection alongside pieces from the collections of Sir Frederick Gibberd and the Foundation for Essex Art. Together, they offer a fascinating glimpse into how individuals and institutions collected art inspired by the post-war New Town movement, and how ideas of Englishness, landscape, and identity still resonate today. The exhibition also reflects on a particular type of English art from the late 20th century, deeply connected to ideas of landscape, place, and national identity. It features works from artists including Wilhelmina Barns-Graham, Edward Bawden and John Piper.
‘Everyday Wonder to Revelation: an exhibition of paintings by Alan Caine’, 10 October – 20 November 2025, Clare Hall, Cambridge –
‘Terry Ffyffe: A retrospective – from Preston to London’, 17 September – 5 October, Gallery Unbound, Northcote – Visit Here
‘Terry Ffyffe 1952 – 2018 – An artist’s memorial’, 23 September – 5 November 2025, Painters TUBES Gallery – Visit Here
‘The Gentler Saints – an exhibition by artist Rob Floyd’, 29 September – 29 October 2025, Manchester Cathedral – Visit Here
‘Icons of the Invisible: Painting the Sacred in the Overlooked’, 7 – 9 October 2025, Queen’s Foundation for Ecumenical Theological Education – Visit Here
‘Anthony Lawrence Retrospective’, 4 October – 31 October 2025, The Palais des Vaches Art Gallery – Visit Here
Mary Griffiths: ‘Though I sang in my chains like the sea’, 4 October – 2 November 2025, Chappel Galleries – Visit Here
‘David Crawford: Lily and the Masters’, 19 September – 19 December 2025, St Andrew’s Church, Wickford – Visit Here
‘Marcus West – Retrospective 1978-2025 ‘, September – November 2025, BCS, The Chartered Institute for IT – Visit Here
‘Prophetic Dreaming’, 4 October 2025 – 12 April 2026, Modern Art Oxford – Visit Here
‘Sophie Lévy Burton: The river beneath the river’, 6 – 18 OCTOBER 2025, The Gallery at Green & Stone – Visit Here
‘Ana Maria Pacheco: A Modern Bestiary’, 27 September – 2 November 2025, Ightham Mote – Visit Here
‘INCLUSION by Mal Fostock‘ & ‘TRANSMUTE by Bushra Fakhoury’, 7 – 11 October 2025, Mall Galleries, London – Visit Here
‘Michael Landy: LOOK’, 27 September 2025 – 15 March 2026, Hastings Contemporary – Visit Here
‘Robert Smithson in Europe’, 27 September 2025 – 22 February 2026, Josef Albers Museum Quadrat Bottrop – Visit Here
‘Speaking in Dreams’, 8 October – 9 November 2025, Compton Verney –
‘Modern Spirit: Studies for Chichester Cathedral’, 2 August – 25 October, Pallant House – Visit Here
‘VISIBLE/INVISIBLE’, 6 September – 16 November 2025, Kunstbygningen, Vrå – Visit Here
‘Heaven and Earth: The Garden of Cosmos: Performance Activation By Bingyi’, 10 October 2025, The Morgan Library & Museum, New York City – Visit Here
‘NOAH: A Future Hope’, 18 September – 5 December 2025, The Margolis Gallery, Houston – Visit Here
‘The Land Sings Back’, 25 September – 14 December 2025, The Drawing Room – Visit Here
‘Naturalia Artificialia: The Hybrid Realm of Art’, 13 September – 18 October 2025, Mausoleum of Bela Rosin, Torino – Visit Here
‘The Shelter of Stories: Ways of Telling, Ways of Dwelling’, 25 October 2025 – 22 February 2026, Compton Verney – Visit Here
‘Downland: Art and the Archaeological Imagination in Wiltshire’, 4 October 2025 – 20 January 2026, Wiltshire Museum – Visit Here
‘Into Abstraction: Modern British Art and the Landscape’, 18 October 2025 – 18 January 2026, Firstsite – Visit Here
‘Touch Point’, 24 September – 13 December 2025, Gibberd Gallery, Harlow – Visit Here