Hurvin Anderson’s first major solo show brings together more than 80 of his vibrant paintings, spanning the artist’s entire career, from his days as a student to new, never-before-seen paintings.

Through colour-drenched landscapes and interiors, Anderson meanders back and forth across the Atlantic, between the UK and the Caribbean. The youngest of eight children, he was the first to be born in the UK after his family left Jamaica for Birmingham in the 1960s. As a result, Anderson’s work reflects on his experiences of belonging and diaspora.

His works often feature family members, experiences from his youth and places of individual and cultural significance like the barbershop. By revisiting elements and sometimes layering one location onto another, he engages with the unreliability of memory and tension around cultural heritage.

Thanks to his profoundly atmospheric use of composition to explore the markers of identity, and his deep-rooted engagement with the traditions of British landscape painting, this exhibition confirms Anderson’s standing as one of the most important contemporary painters of his generation.

£18

Monday to Sunday 10.00–18.00

A 17th-century trailblazer rediscovered.

Active in Brussels in the middle of the 17th century, Michaelina Wautier challenged the limits imposed on female artists at the time by working on an unusually varied range of subjects: from flowers and portraits to grand history paintings – a format usually reserved for her male counterparts.

In her most famous painting, The Triumph of Bacchus, she painted herself as a pagan bacchante in monumental scale, looking squarely at the viewer and confidently asserting her position as the maker.

Although Wautier was hugely successful in her time, her breathtaking paintings and her place in art history were almost lost in the 18th century.

£15

Tues-Sun 10am – 6pm

Fridays 10am – 9pm

Known for her vigorous brushwork, vivid colour and dynamic compositions, Cecily Brown presents paintings inspired by Serpentine’s unique location in Kensington Gardens, a site of personal significance to the artist.

Themes of nature and park life have long shaped Brown’s formal explorations. She experiments with scale, colour and recurring motifs, such as amorous couples, woodland scenes, and uncanny nature walks.

New works made specifically for the exhibition are shown alongside a selection of key paintings dating back to 2001, in addition to recent monotypes and drawings. The exhibition gestures to Brown’s early memories of the English landscape, her fascination with children’s book illustrations, and the darker undercurrents of cautionary tales.

Picture Making marks Brown’s first major solo presentation of paintings in a UK institution since her 2005 exhibition at Modern Art Oxford and represents a homecoming for the British artist who has worked in New York for the past thirty years.

Free

Monday 12-6pm, Tuesday-Friday 10am-6pm, Saturday-Sunday 10am-7pm

The Textiles of Susan Collier and Sarah Campbell.

Presenting a diverse range of material from the Collier Campbell Archive, Paint! Pattern! Print! invites us into the exuberant world of pioneering designers Susan Collier and Sarah Campbell. Discover their creative journey from the first strokes of the paintbrush to the finished artworks and translation from design to textiles, fashion and homeware.

Sisters Susan Collier and Sarah Campbell worked alongside each other for over 50 years, creating vibrant painterly patterns that transformed printed fabric and the world of interiors. Their highly successful and prolific partnership as Collier Campbell brought British design to global audiences collaborating with brands such as Liberty’s, Heals and Jaeger.

Experimental and innovative from the start, the sisters became pioneers, taking control of the whole process from raw to finished printed cloth as designer converters. As a result, they were able to retain the rights to their own designs as well as develop their own colours and control the quality of both the cloth and the printing. For two women to enter the world of manufacture, approaching companies and making deals was groundbreaking. It was also a bold move at a time when Britain was facing a recession.

Today Sarah Campbell continues this process in her independent creative journey inspired as always by her passion for painting, pattern and print.

Tuesdays – Saturdays, 11.00 – 18.00 (last entry 17.15)
£12.65 (Concessions may apply)

The UK’s first exhibition on Elsa Schiaparelli spans the 1920s to today, celebrating the innovative designer’s influence. It traces the fashion house’s groundbreaking origins and its evolution under current creative director Daniel Roseberry.

Spanning the late 1920s to today, the exhibition charts the history and impact of one of fashion’s most innovative houses. Drawing on new research, the exhibition places founder Elsa Schiaparelli at the centre of a creative network across Paris, London, and New York, highlighting her role as a pioneering female entrepreneur. The show will trace the house’s remarkable trajectory, from its first, paradigm-shifting garments, through to its present-day incarnation under Creative Director, Daniel Roseberry. Over 200 objects—garments, accessories, jewellery, artworks, perfumes and archival material— will showcase the house’s boundless creativity. Highlights include the V&A’s ‘Skeleton’ and ‘Tears’ dresses, the surreal Shoe hat made with Salvador Dalí, and artworks by Pablo Picasso, Jean Cocteau, and Man Ray. Elsa Schiaparelli’s vision transformed ordinary objects into bold statements, and Daniel Roseberry continues that legacy at the original headquarters of 21 Place Vendôme, creating a contemporary oeuvre that continues to shape and inspire global culture today.

Weekdays £28 / Weekend £30

Concessions apply.
Advance booking is recommended

Daily 10.00 – 17.45

Friday 10.00 – 22.00

London’s first comprehensive survey of Guyanese-British ceramicist, painter and sculptor Donald Locke.

A post-war artist of the Windrush Generation, Donald Locke (1930-2010) played a pivotal role in 20th century British sculpture. This exhibition, presenting over 80 works across five decades, offers a long-overdue exploration of the artist, whose significance has gone under-recognised in the UK.

Always experimenting, Locke’s practice is characterised by his evolving approach to different media and his formal ingenuity, alongside a constant exploration of history, identity and subjugation.

Resistant Forms charts this evolution of Locke’s work across his life as he moved between homes in Guyana, the UK and the United States – influenced by the people and places he encountered along the way.

Commencing with his early ceramics works, evocative of human and natural forms, the exhibition traces the artist’s move to mixed-media sculpture and the monochromatic black paintings from his Plantation Series in the 1970s. Also presented are his large-scale paintings from the 90s, which continued Locke’s assemblage practice, through their incorporation of found images and ceramic, metal and wood. The final section of the show presents a selection of experimental works made by Locke during the final years of his life in Atlanta – mixing memory and mythologies, which were deeply influenced by the vibrant art scene and assemblage traditions of the American South.

A singularly prolific and heterodox artist, this exhibition represents the most comprehensive survey to date of the range of materials and styles adopted by Donald Locke across his life, reflecting his unwavering pursuit to give form and visibility to the “unique and hybrid contributions of Black culture to modernity.”

Free

Tuesday-Sunday: 11am-6pm

Discover the remarkable style of Britain’s longest-reigning monarch, Queen Elizabeth II, through clothing worn in all ten decades of her life – from birth to adulthood, from princess to queen, and from off-duty style to dressing for the global stage for momentous occasions in Britain’s history.

Featuring approximately 200 items, many on display for the first time, this is the largest and most comprehensive exhibition of the late Queen’s fashion ever mounted.

Alongside clothing, jewellery, hats, shoes and accessories, explore never-before-seen design sketches, fabric samples and handwritten correspondence that reveal the behind-the-scenes process of dressing the most famous woman in the world and shed new light on the late Queen’s close involvement in the creation of her wardrobe.

Highlights include her bridesmaid dress, wedding dress, Coronation dress and the ensemble worn for the wedding of Princess Margaret.

£22

Daily 10am – 5.30pm

In 1942, with the museum’s treasures evacuated for safety, Hertford House became an unlikely stage for cultural diplomacy. Two exhibitions transformed the empty galleries into a forum for Anglo-Soviet friendship at a critical moment in the conflict.

Artists Aid Russia brought together over 900 works by living artists, from Augustus John to Jacob Epstein, with proceeds supporting Clementine Churchill’s Red Cross Aid to Russia Fund. Twenty-Five Years of Progress, designed by Ernő Goldfinger, filled the galleries with bold photomontages and banners celebrating Soviet achievements and Allied unity.

Launched by Soviet Ambassador Ivan Maisky and his wife Agniya, these exhibitions reveal how art, propaganda and architecture were mobilised to strengthen wartime alliances.

This free display draws on newly revisited archives, surviving catalogues and artworks actually shown in 1942 to illuminate how the Wallace Collection contributed to Britain’s wartime cultural front.

Free

daily from 10.00–17.00

In the 1400s and 1500s, the Low Countries were a powerhouse of artistic innovation. This was a transformative period for Netherlandish drawings, as they evolved from preparatory studies to works of art in their own right.

Featuring around 120 works by artists including Rogier van der Weyden, Lucas van Leyden, Pieter Bruegel the Elder and Hendrick Goltzius, this exhibition charts the development of drawing in the Low Countries (present-day Belgium, Luxembourg and the Netherlands) before 1600. The exceptional breadth and quality of the British Museum’s holdings provides a unique opportunity to present a comprehensive account of drawing from this region.

Early Netherlandish drawings are extremely rare, as they were made as functional objects in the workshop and were not typically retained. This was unlike Italy or the German-speaking lands, where the taste for collecting drawings in the 1500s ensured the survival of a higher number of works from this period. Drawings were central to the design and production of works of art in different media, including tapestries, paintings, stained glass and prints – and surviving examples shed light on the creativity and collaboration of Netherlandish artists.

Room 90

Free

Daily: 10.00–17.00

125 years of Black music-making in Britain. This landmark exhibition will reveal how Black British music has shaped British culture. Spanning four continents and 12 decades, this is a story of excellence and struggle, resilience and joy.

The Music is Black: A British Story traces the roots of music descended from African musical practices that have influenced and transformed British identity over the past 125 years. Tracing an ever-evolving sound shaped by British colonialism, transatlantic enslavement, migration and innovation, this exhibition is a celebration of resilience, creativity and joy. It reveals how British-born Black music genres – from lovers rock and Brit funk, to 2 tone, jungle, drum & bass, trip hop, UK garage, grime and beyond – have inspired and impacted lives across the UK and around the world.

Divided into four powerful acts, the exhibition brings together an evocative sound experience and multimedia installations with over 200 objects from 1900 to today. Spanning fashion, photography, musical instruments and technology, personal writings, song sheets, sculpture, paintings and more, objects include over 60 newly acquired items to the V&A collection.

Weekday £22.50 / Weekend £24.50

Concessions apply.
Advance booking is recommended.

10:00-18:00, seven-days-a-week, with late night openings to 22:00 every Thursday and Saturday.

“A gazebo is usually located in a garden or a park where you can take in the view around you – a view capturing a moment of time and of space. It’s like you are in a little concentrated cosmos. I’ve been interested in sky, space, light, and clouds, and for this project – another in my Imaginary Architecture series – I chose to explore iridescent clouds, sometimes known as “rainbow clouds,” a meteorological phenomenon characterised by vibrant, colourful bands appearing on thin, semi-transparent clouds. John Constable was always very interested in clouds, and did so many studies and paintings of them. Within a gazebo you see clouds and a sky that is never exactly the same as it is at any other time; wherever you stand and at whatever time, you never see the same view. There is a word in Japanese philosophy, “Ichigo

Ichie,” meaning “a single meeting in a lifetime” or “one life, one encounter.” It’s a concept that encourages the appreciation of every moment and encounter as unique and precious, recognising that each one will never be exactly the same as another. It also applies to people, that you should appreciate the moments of meeting and being with people” – Yuko Shiraishi, 2025

Alongside her painting practice, Yuko Shiraishi is also known for her architectural and conceptual works, reflecting her fascination with cosmology and the liminal space between dream and reality. Her installation works include Space Elevator Tea House (2009) which merges notions of a traditional Japanese teahouse with the speculative vision of space travel. Netherworld (2013) draws parallels between the layered chambers of ancient Egyptian tombs and the cyclical nature of birth and death and Bunk Bed Odyssey – Parallel Lullaby (2024) was shown at Annely Juda Fine Art in London – the work investigates the dreamlike distance between two individuals sleeping in bunk beds.  Shiraishi draws on visionary imagery, influenced by the imaginative realm of science fiction.

Shiraishi’s newest piece Brief Encounter – Gazebo (2025) will be shown in the Project Room at Annely Juda Fine Art’s new Hanover Square premises – the work featured in her 2025 exhibition at Ani Molnar (AM Projects) Gallery in Budapest and this is the first time it has been seen in London.

Free

Tuesday – Friday 10am – 5.30pm. Saturday 11am – 5pm.

Explore the vision and legacy of Japanese designer and creative director NIGO – from street style to music and beyond, in the first UK exhibition showcasing his multifaceted creative work, alongside vintage objects and traditional crafts from his personal collection.

From the back streets of Harajuku, Tokyo, to the global stage, this is the first-ever museum retrospective and exhibition outside of Japan that will chart the career and life of the Japanese creative director, NIGO, one of the first creatives to bridge the worlds of streetwear and luxury fashion. Over a 30-year career, NIGO has helped define some of the most influential trends in contemporary fashion, successfully crossing fashion, music, architecture and interior design.

This landmark exhibition will feature over 700 objects, with highlights including a recreation of NIGO’s teenage bedroom, rare designs, ceramics hand-thrown by NIGO himself, and a life-size glass tea house made especially for the exhibition. His work draws on influences spanning vintage Americana, streetwear, hip-hop, traditional Japanese craft and growing up in 1980s Tokyo.

Working across street style, fashion, music, and more, NIGO has been behind some of the most influential designs, ideas and trends in recent streetwear and fashion history. From founding his first fashion brand, A Bathing Ape, in the ‘90s to his current role as artistic director of KENZO, his impact remains as wide-reaching and relevant as ever.

The exhibition will give visitors a glimpse into NIGO’s world, from his personal collection of vintage clothing and objects to his close network of collaborators, and showcase his practice and ability to draw on wide-ranging disciplines and cultural references, which have given rise to some of the most iconic brands.

Adult: From £15.29

10:00 – 17:00 Monday to Thursday
10:00 – 18:00 Friday to Sunday

Paulo Nimer Pjota is a Brazilian artist who predominantly works in oil, tempera and acrylic on canvas. His large-scale paintings draw on art history, popular culture, mythology and folk tales, merging multiple references to create new, imaginary scenarios. His approach borrows from the sampling and remixing practices adopted in Brazilian hip-hop and rap music, as well as on his experience as a graffiti artist as a teenager.

This exhibition in the Main Gallery showcases a new series of paintings against an expansive mural painted directly onto the gallery walls. Magical environments are populated by mythical characters, animals and imaginary beasts. The sun, stars and moon are recurring motifs in Pjota’s practice, as are vases, shells and other vessels, often brimming with flowers and plants. The presence of music is also implied, with a three-headed beast in one work playing the trumpet, horn, drum and sax all at the same time.

Bringing together disparate elements from the past, present and an imaginary world,  Pjota introduces us to a new universe where established ideas of value are dismantled and redefined, making way for an alternative future. Unlike a story book in which a clear narrative unfolds, Pjota’s works leave the viewer to make their own sense of his fantastical scenes.

Free

Wednesday
12pm – 9pm
Thursday
12pm – 6pm
Friday
12pm – 6pm
Saturday
12pm – 6pm
Sunday
12pm – 6pm
Late opening: 12pm–9pm every Wednesday

In collaboration with Matthew Marks Gallery, Lisson presents an exhibition of work by the influential LA-based artist, Ken Price (Los Angeles, 1935-2012). Price was a relentlessly inventive artist who challenged forms through sculpture, painting and drawing throughout his five-decade career. As the first solo presentation of his work in the UK in nearly a decade, the exhibition brings together both sculpture and drawing, several of which are on view in London for the first time.

At Lisson Gallery, the exhibition showcases Price’s mastery of ceramics and expansion of the possibilities of the medium. As early as the 1960s and 70s, Price created diminutively scaled works whose innovative and outlandish shapes subverted the functionality of traditional ceramics. Works such as Prone (1997), Itself (2003), Yin (2009) and Amazon (2003) – formed from fired and painted clay – represent Price’s biomorphic, often erotic, sculptural creations. Speaking inherently to the viewer’s body, these fluid compositions play with form and balance, intimacy and seclusion. Through processes of layering and sanding pigment, Price achieves surfaces of depth and luminosity, transforming clay into objects that appear almost otherworldly.

Price was committed to utilising clay as a tool to explore his unique place and time in history. Deeply informed by the vernacular traditions of Mexican pottery and the improvisational rhythms of jazz and Pop culture, Price’s work is characterised by its vibrant palette, organic forms and tactile surfaces. His forms are also inspired by his experiences in Venice, California and New Mexico. Price witnessed the burgeoning contemporary art scene across Los Angeles, with the birth of a profusion of cultural institutions and artistic movements. He was a key figure in the LA artistic movements that originated in southern California in the 1960s, alongside other prominent artists. Following his first solo show at the Ferus Gallery in 1960, at the age of just 25, Price’s work was profiled on the cover of Artforum (1963), and his first solo presentation at the Whitney Museum of American Art in New York opened in 1969. In later years Price had significant exhibitions at the Los Angeles County Museum of Art in Los Angeles, the Menil Collection in Houston, the Walker Art Center in Minneapolis, and the Chinati Foundation in Marfa, Texas.

Free

Opening Times:
Tuesday – Saturday: 11:00am – 6:00pm

The first major monographic exhibition in the UK devoted to Francisco de Zurbarán (1598–1664).

Along with Diego Velázquez (1599–1660) and Bartolomé Esteban Murillo (1617–1682), Zurbarán was one of the leading painters of 17th-century Spain. His paintings, which include stunning life-size depictions of saints, soaring altarpieces and contemplative still lifes, are celebrated for their naturalism, directness and deep emotional power.

This exhibition of almost fifty paintings will span the chronological and iconographic breadth of the artist’s career. It will unite exceptional works from public and private collections, including the Musée du Louvre (‘Saint Bonaventure on His Bier’ and ‘Saint Apollonia’) and the Art Institute of Chicago (‘The Crucifixion’, ‘Saint Romanus of Antioch’ and ‘Saint Barulas’ and Juan de Zurbarán’s ‘Flowers and Fruit in a Chinese Bowl’), the two partner museums to which the exhibition will travel between October 2026 and June 2027, and from the collection of the National Gallery (including Saint Margaret of Antioch and Juan de Zurbarán’s Still Life with Lemons in a Wicker Basket).

£20 (off-peak, Sunday-Thursday)
£22 (Friday and Saturday)

daily 10am–6pm Friday until 9pm

Hazlitt Holland-Hibbert presents its second solo exhibition of work by Patrick Heron (1920–1999), focusing on a pivotal period between 1950 and 1954 when the artist negotiated his own path between figuration and abstraction. Featuring paintings from the artist’s estate – including several never before exhibited – alongside loans from museums and private collections, the exhibition offers fresh insight into a formative chapter of Heron’s development. During these years, Heron’s practice was animated by sustained engagement with the masters of the School of Paris, particularly Braque, Matisse, and Bonnard, whose preoccupations with plastic and spatial values, and above all colour as space, became the foundation of his own emerging visual language.

Free

Monday – Friday 10:00-18:00
Saturdays 11:00-17:00

Kew Gardens in London will showcase a once-in-a-generation presentation of artworks by Henry Moore, one of the most influential and internationally recognised artists of the 20th century. Monumental Nature represents the largest and most comprehensive showcase of Moore’s work to date, featuring 30 works across Kew’s varied landscape and inside the iconic Temperate House, the largest surviving Victorian glasshouse in the world.

This major exhibition, the largest of its kind on Moore anywhere in the world to-date, will offer a fresh perspective on his lifelong engagement with natural forms and materials, creating new opportunities for visitors to encounter his monumental sculptures alongside Kew’s iconic vistas and historic glasshouses. Throughout Moore’s career, this connection to nature remained a constant theme, reflected in his ability to transform its complexity and beauty into abstract forms that feel profoundly human. Moore believed that landscapes provided the perfect setting for his sculptures, where the natural architecture of the environment could amplify their visual and emotional impact.

Alongside the works across the Gardens, visitors will also be able to enjoy a comprehensive exhibition in Kew’s Shirley Sherwood Gallery of Botanical Art, featuring over 90 works including bronzes, stone and wood carvings, prints and drawings, exploring Moore’s unique process of ‘thinking through nature’.

10am to 7pm (last entry 6pm)

The Shirley Sherwood Gallery closes at 5pm daily

£27.50

Zineb Sedira has transformed Tate Britain’s neo-classical Duveen Galleries into an immersive installation drawing on the rich legacy of 1960s and 70s African cinema with When Words Fall Silent, Cinema Speaks… The commission centres on Algeria following its independence in 1962, when it became one of the hubs for activist filmmakers from Africa, Asia, South and Central America to share political ideas and envision alternative futures. Exploring the role of cinema in shaping collective memory and global solidarity, Sedira’s commission reanimates historical film techniques and narratives in a celebration of cultural resilience.

Visitors are greeted by the commission’s title in bright red lettering in the style of Hollywood cinema signs of the 1940s and 50s. Sedira infuses the visual language of Hollywood’s Golden age with the radical energy of ‘Third Cinema’, a term coined in the 1960s for the anti-imperialist movement which rejected elements of both Hollywood and European art cinema. Sedira has recreated a cinema to show her newly commissioned film, staged in four acts to mirror the key stages of filmmaking: scriptwriting, shooting, editing and screening. It features the voice of Boudjema Kareche, the director of the Cinémathèque Algérienne from 1973 to 2004, an institution showcasing revolutionary films from Africa and the Global South. Kareche’s memories of the period are woven together with archival imagery and scenes of Sedira both behind and in front of the camera, celebrating the activist spirit embedded in cinematic history.

At the centre of the gallery, Sedira has installed a 1960s Parisian café complete with a bar, tables, chairs, and books. Visitors are invited to sit, read and immerse themselves in this atmospheric set, which pays homage to the cafés that served as vital spaces for political conversation and solidarity for Algerians living in exile during the War of Independence. To one side of the café stands a customised Scopitone, a video jukebox once popular with migrant workers. The Scopitone has been re‑engineered by Sedira to play excerpts from Agnès Varda’s Salut les Cubains 1963, where animated still images pulse to Afro‑Cuban rhythms, capturing dance, civil society and cultural expression as forms of collective resistance.

In the North Duveen, a cinema sign in Arabic stands over a sculptural display of vintage camera equipment, highlighting the material presence of film. An interview with film critic and historian Ahmed Bedjaoui, recounting how Algeria became a global centre for militant cinema following independence from France, is projected from a 1960s French van reimagined as a ‘Ciné Pop’. The history of these mobile projection units, used by the French army to distribute propaganda and later reappropriated by the Algerian state to bring revolutionary and anti‑colonial cinema to rural communities, is central to Sedira’s commission. Bedjaoui reflects on his decades-long career and the power of cinema to preserve cultural memory.

A landmark collaboration between the V&A and the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane.

Rising Voices will offer an unparalleled view of the Asia Pacific region’s dynamic creative landscape. Foregrounding First Nations perspectives and diverse artistic approaches, the exhibition will feature rare works by over 40 pioneering creatives.

Across geographies and communities, and reflecting on a changing relationship with the past, Rising Voices reveals both diversity and commonality in art-making across the region, marking a pivotal moment in the dialogue between the local and the international that the Asia Pacific Triennial has championed for over three decades.

The exhibition draws on the Triennial’s legacy, arranged across an introduction and three thematic sections. Re-Visioning History demonstrates how artists respond to political conditions, from histories of migration to domestic conflicts and social upheaval. Enduring Knowledge explores artistic heritage and ways of making with local materials. The exhibition concludes with Evolving Faith, which considers how spirituality and systems of faith are expressed in contemporary practices.

£17.00

Daily 10:00-17:45

Friday until 22:00

Gagosian presents exhibition of works by Christo, and a large-scale indoor installation conceived by Christo and Jeanne-Claude in 1968. Organised around the theme of air—invisible, intangible, and essential—the exhibition unites the historic, unrealized project with rare early works that distill the conceptual foundations of the artist’s practice.

In the 1960s, Christo and Jeanne-Claude developed a series of works exploring wrapped air, sealing it within transparent polyethylene packages bound with rope. These intimate sculptural gestures render their invisible subject tangible, thereby proposing a radical shift in perception which suggests that value and meaning might emerge not from an object itself, but from the act of its containment. Such works foreshadow the artist’s later interventions at environmental scale, in which buildings, landscapes, and public spaces are temporarily redefined through acts of wrapping that reveal latent sculptural qualities while obscuring function and identity.

As throughout Christo and Jeanne-Claude’s practice, the works on view foreground the ephemeral, echoing philosopher Maurice Merleau-Ponty’s understanding of perception as a lived, shifting experience grounded in the immediacy of encounter. The exhibition is centred on Air Package on a Ceiling, a vast, internally illuminated and suspended form. Originally conceived in 1968 for the Institute of Contemporary Art, Philadelphia, the installation remained unrealized due to technical constraints. Installed here for the first time, in collaboration with the Christo and Jeanne-Claude Foundation, it fully occupies the space—measuring 16 meters long and 10 meters wide, and descending to just above head height. Both architectural and atmospheric, it compels visitors to move beneath and around it.

For her first solo exhibition in London in a decade, Roni Horn will present never before exhibited works on paper from her new Seizure of Hope series, which explores Horn’s preoccupation with repetition and the utilisation of the written word as a medium. Accompanying her drawings is one of her renowned glass sculptures; taking the form of a cube, the work is a rare example of Horn’s cast objects.

Underpinning her wider practice, drawing is a primary activity that has been integral to Horn’s oeuvre for nearly 40 years. Featuring throughout the works on view, the phrase ‘I am paralysed with hope’ comes from a monologue by the stand-up comedian Maria Bamford, which Horn describes as a ‘poignant connection to our time with regards to politics and the environment and now, of course, in relation to the pandemic.’ Bamford’s quote was first used by the artist in her 2021 work ‘LOG (22 March 2019 – 17 May 2020),’ a large-scale installation comprised of 406 individual works on paper that function as a record of the world around her, and evolved into the Seizure of Hope series on view.

Evoking water damaged ink, the text is at once legible and blurred. Her cast-glass sculpture ‘Untitled (“What happens to the hole when the cheese is gone?”)’ (2022) similarly balances solidity and fluidity, its glossy top recalling the crystal-clear surface of an undisturbed pool of water. Water is a constant theme for Horn, stating she is ‘fascinated by this idea of water as a form of perpetual relation, not so much a substance but a thing whose identity was based on its relation to other things.

Francis Picabia (1879 – 1953) is one of the most influential and essential artists of the 20th Century. His career and worldview were marked by ceaseless experimentation, and his oeuvre demonstrated a rapid progression through various artistic movements, which included Impressionism, Fauvism, Dadaism and Cubism.

Organised in collaboration with the Comité Picabia, this wide-ranging overview covers five decades of creative output, from his early landscapes, Dada works and Transparencies through to his radical nudes, realist works made during World War II and textural abstract paintings created in his final years. Shedding light across every area of the artist’s practice, this exhibition highlights his fluid movement between figurative art and abstraction, affirming Picabia’s reputation as one of art history’s most ingenious shape shifters.

Offering a rare glimpse into Francis Picabia’s practice before he began his many self-reinventions, his 1902 landscape—the earliest work on view—attests to his Impressionist period at the start of his career. His approach began to shift as early as 1908, albeit subtly, towards Neo-impressionism and he broadened his horizon to encompass Fauvism and Cubism. This spirit of creative renewal is encapsulated in ‘Le Zèbre (The Zebra)’ (ca. 1909 – 1933), which presents a Neo-impressionist coastal scene in the background. This was later superimposed with a playful line drawing in the 1930s, emblematic of the artist’s tendency to revisit and revise canvases across decades. ‘Untitled’ (ca. 1911) sees Picabia’s landscapes moving even further from Impressionism, with simplified forms bordering on abstraction.

Sokari Douglas Camp CBE opens a new solo exhibition of striking sculptures at October Gallery. Titled Fashion and Fortune, the artist brings together large and smaller scale steel sculptures alongside selected prints. Douglas Camp, as in previous exhibitions, mines the historical records of earlier visual artists to examine power, commerce and colonialism within a broad Caribbean and, by extension, African context.

Drawing inspiration from Robert S. DuPlessis’ book The Material Atlantic, Douglas Camp explores clothing, commerce and emblems of wealth as reflected in fashion and dress. Through intricate metal figures, elaborate headdresses, and the incorporation of coins, the artist highlights both the oppression embedded in colonial systems and the creativity with which marginalized people reasserted identity and status. Furthermore, by delving into her own Nigerian family’s complex dress code, Douglas Camp deftly plays upon imbuing fabrics and modes of dress with new meanings. With these exhilarating new works presenting an impressive selection of motifs including dazzling displays of flowers and fruit, including a lively depiction of the tropical pineapple, she observes how people of diverse ethnicities, social positions and occupations impacted the emergence of a distinctive sartorial culture across the Atlantic world.

These latest sculptures tease out the complex intertwining histories of trade, colonialism and lineage, while simultaneously celebrating the resilience of the people of Africa and the African diaspora throughout the globe.

A truly global figure, Whistler re-wrote the rules of what it meant to be an artist. He pioneered new and innovative techniques, creating astonishingly beautiful, ethereal visions of modern life that would earn him a place as one of the most influential artists of the 19th and 20th centuries.

This retrospective – the first major European exhibition of Whistler’s work in 30 years – brings together the artist’s world-famous paintings alongside rarely, or never seen, works. It includes exquisite portraits, drawings, prints, and designs, from as early as his teens in St. Petersburg to the enigmatic late self-portraits.

The exhibition presents both a boldly experimental artist and cosmopolitan celebrity, disrupting the conventions of Victorian society in pursuit of truth, beauty, and progress.

£24

Monday to Sunday 10.00–18.00

Liam Young’s imaginary worlds take over various locations in the Barbican, inviting us to imagine what the future of humanity could look like, and the challenges and adventures to come.

Through an immersive experience, created in collaboration with leading voices from film, TV, literature and science, comes a display of films, audio stories, tapestries, soundscapes and costumes. In Other Worlds constructs a series of imagined futures for our planet, rooted in real technology and climate-based possibilities.

This is the first major UK solo exhibition of the filmmaker and speculative architect. Operating in the spaces between design, fiction and futures, these works immerse us in the consequences and opportunities of the decisions we make today. It is about stepping away from dystopia, asking: what if the future could actually be… hopeful?

£20.50

Tue-Wed   11am-7pm
Thur-Sat   10am-9pm
Sun   10am-7pm

Standpoint presents a solo exhibition of new work by Clara Hastrup (b. Århus, Denmark), winner of the Mark Tanner Sculpture Award 2025/26.

The exhibition Polyrhythms and Multigrain Vibrations brings together a new body of work developed since receiving the Mark Tanner Sculpture Award in 2025. It extends the artist’s ongoing investigation into sculpture as a dynamic system, connecting external forces, sound, image, and disparate materials to generate new rhythms and relationships.

Clara works in a variety of media that often combines analogue and digital technologies to reconfigure everyday objects, domestic materials, and animate forms. Through playful transformation and material experimentation, her works invite imaginative ways of encountering the seemingly familiar.

Sir Winston Churchill (1874 – 1965) was one of the great statesmen of the twentieth century – the UK’s Prime Minister during the Second World War, and a Member of Parliament for 62 years. He was also a passionate and prolific painter. In painting, he found respite from public pressures, and a lifelong source of joy.

The first major retrospective of Sir Winston Churchill’s paintings since his death, this exhibition brings together more than 50 of his works. More than half are from private collections, rarely accessible to the public.

Encounter sombre wartime scenes and radiant Mediterranean views, carefully composed still-lifes and portraits, luminous Moroccan cityscapes, and deeply personal paintings of Chartwell, Churchill’s beloved home and garden.

During Churchill’s lifetime, some were exhibited at the Royal Academy, or given as tokens of friendship or diplomatic gifts. But most were painted purely for the pleasure and challenge of the creative process.

£18 (£20 including donation)

daily from 10.00–17.00

Helen Marten presents This Weather, a film in five chapters, at Sadie Coles HQ. Originally conceived as part of Marten’s ambitious opera performance, 30 Blizzards., presented by Miu Miu at Palais d’Iéna for Art Basel Paris in October 2025, This Weather is restaged here as a singular work.

Each of the five new films of This Weather references an underlying sequence of symbolic roles from youth to older age, detailed through successional chapters: childhood, community, sexuality, interiority, loss. Five distinct monologues form crucial narrative threads, all instilled with their own temperament, a unique, emotional weather. These monologues are voiced by women, but they are not literal representations, rather they mark a space for metaphor, translation and plurality. The “mother”, for instance, speaks suggestively to an atmosphere of care, but the symbolism is never explicit, and the implications might be those of chosen family or empowerment through reciprocal dialogue and exchange. The voice of the child has a buoyant naivety, but also a hint of violence or the sense of potential rupture that accompanies abstract play or chance. The patient speaks of analytical self-reflection and the absurd comedy of solipsistic “diagnosis”. The widow maintains a powerful position of futurity rather than ultimate grief; and the lover is an elastic cipher, a character whose subjects of intimacy are the granular quality of the material world, in friction with deliberate libidinal affirmation. Concrete identity is irrelevant to an ideology of more generalized and radical human optimism.

Marten’s video scripts extend outwards to draft a fully “molecular” universe: animals, weather, material conditions, existential emotions, and narrative archetypes, with the great vastness of physical space held in juxtaposition to the similar vastness of psychic space. The intensive figurative linkage between voiced text and material tactility suggests that the empirical architecture of the built world is continually held against the thickness of desire and visibility.

This Weather becomes a meta-model of the larger world, a fragmented system of interlocking lenses of criticality, domesticity and importance: the world, inside the world, inside the world. Each is character defiant and intent, like a little planet dropping its own singular crumbs.

The work is made with animation by Adam Sinclair, and with sound and composition by Beatrice Dillon. The monologue actors are, in order of appearance, Laura Green, Vanessa Onwuemezi, Eve Esfandiari-Denney, Sophia Al-Maria and Kathryn Hunter.

Tuesday – Saturday
11am-6pm

Free

For over 25 years, the foundation of Paul P.’s practice has been a series of portraits of anonymous young men, their images appropriated from gay erotic magazines produced between the late 1960s and the early 1980s; a period bracketed by the beginning of gay liberation and the onset of the AIDS crisis. The head-and-shoulders format he favours constricts the libidinal pull of the source material, directing attention instead toward the models’ expressions of youthful reticence and self-knowledge.

P. has written, “beyond the gay images from the 1970s, I look further back to Whistler, Sargent, Montesquiou, and Proust to locate the atmosphere in which to portray this physicality.” These defiant dandies of the late 19th and early 20th centuries sought to represent queerness under repressive law, deploying inflection, allegory, and inference as formal strategies (and forms of resistance), and it is these coded visual languages that he draws upon.

Alongside portraits, there are works including bats emerging from dense clouds, laundry strung against a hazy sky, and a wave slipping into shore at night: subjects in which fading light renders beauty both transient and luminous. These paintings are organised around moments of threshold: twilight scenes in which deep shadows and silvery light coexist.

The artist’s methodology considers desire, refinement and beauty, yet these considerations are edged with unease. The men depicted existed within a narrow period of freedom, and their individual fates remain unknown. In bringing together the coded visual languages of the Victorian era and the archive of post-Stonewall erotic culture, P. reminds us that certain freedoms remain cyclical, not assured.

Free

Wednesday – Saturday, 11 am – 6 pm

London Gallery Weekend hours:
Friday 5 to Sunday 7 June, 11 am – 6pm

‘Tenderness and Rage’ explores HIV and AIDS through stories of protest and care, from the height of the UK’s AIDS epidemic in the 1980s and 1990s to global experiences of HIV today.

Through photography, film and archival materials, the display connects everyday acts of care with activists’ fights for dignity, rights and equitable access to treatment.

At its centre are two photographic series created with artist Gideon Mendel. ‘The Ward’ documents the lives of patients on AIDS wards at Middlesex Hospital in London, while ‘Through Positive Eyes’ – a project led by the Art & Global Health Centre at UCLA – shares the perspectives of HIV activists worldwide.

‘Tenderness and Rage’ amplifies voices often marginalised, with a particular focus on women living with HIV in the UK and around the world.

The exhibition is curated by Adam Rose.

Free

Tuesday – Sunday 10:00 – 18:00

Amanda Wilkinson will present the first exhibition of Andrew Heard’s paintings in the United Kingdom in more than three decades. Heard’s post-pop paintings of the 1980s and early 1990s often integrated ‘low’ cultural references from British and American TV, film and music hall, with biting, sardonic textual components. His most characteristic paintings of the 1980s centre iconic but already passé or parochial personae from British popular culture: Charles Hawtrey, Terry-Thomas, Kenneth Williams and Benny Hill; or stars of ‘Golden Era’ British cinema, like Rita Tushingham, Deborah Kerr, and Albert Finney.

Art critic Louisa Buck wrote of Heard that ‘no artist has been as successful in capturing the tawdry Carry-On culture of Britain in the late Fifties and Sixties with its forgotten jingles, minor celebrities and suburban sitcoms. Yet there is nothing whimsical about Heard’s sharply witty, hard-edged paintings.’ They are suffused with a melancholic attachment to a lost Britishness deemed both hallowed and ridiculous. This attachment is sincere and derisive, nostalgic and pejorative, and his wry humour is also attached to other orders of images, including gay-coded objects of attraction, like male pinups, boxers, and skinheads.
In 1988, after the death of his friend and former partner David Robilliard, Heard’s aesthetic sensibility took a more melancholic turn. His later paintings, including I Want to be Good (1992), which gives this exhibition its title, are shaped by the structures of feeling associated with HIV/AIDS, including fear, stigma, loss and grief.

Heard was born in Hertford, England in 1958, and studied at Chelsea School of Art (1979-80). He was highly regarded by major contemporary artists including David Hockney, Gilbert & George, John Stezaker, and Derek Jarman, all of whom supported and/or wrote about his work. Heard died from an AIDS-related illness in London in January 1993.

The exhibition will feature a selection of Heard’s large, powerful, virtuosic paintings, spanning the full scope of his career from 1981 to his last work. This exhibition is guest curated by Dominic Johnson, and supported by the artist’s estate, which is now represented by Amanda Wilkinson. It is accompanied by a publication and a panel discussion at Tate Modern on 12 June 2026.

Free

Wednesday – Friday 12 noon – 6pm and Saturday 12 noon – 5pm

Join art historian Dominic Johnson and guest speakers at Tate Modern on Friday 12 June to explore the world of Andrew Heard (1958-1993), whose queer perspective transformed British post-pop art in the 1980s and 1990s. Examining queer identity, visual culture and artistic legacy, this conversation will illuminate an important but little-discussed artist.

Book tickets here

A major exhibition of works by the American artist, Jack White, will open at Damien Hirst’s Newport Street Gallery in association with HENI on 29 May 2026. The exhibition marks White’s first public showing of his art.

Exhibition highlights will include sculptures made with found objects including interactive works, installations and furniture design products.

The exhibition will also include a remake of Jack White’s 2015 sculpture The Red Tree preserving the original concept of transforming a decaying tree into a striking artwork.

Born in Detroit in 1975 and currently living in Nashville, Jack White is an interdisciplinary artist, equally conversant in sculpture and furniture design products as he is in music and songwriting. Taking inspiration from both mid-century modern design and local Detroit Cass Corridor artists such as Gordon Newton and Robert Sestok as well as his background in upholstery. White opened his own upholstery shop, Third Man Upholstery, in 1996.

While White’s sculpture and upholstery have largely been confined to private work over the past twenty years, he has further explored his design muse via his Third Man Records umbrella. Whether interiors, visuals for print, photography, industrial, film, White designs with purpose, conviction and passion.

Tuesday – Sunday, 10am-6pm

Admission: Free

Lead image: Jack White in the Studio Photographed by David James Swanson © The Artist

Herald St presents Others, the second solo exhibition of works by Naotaka Hiro (b. 1972, Osaka, Japan; lives and works in Los Angeles, USA) which takes place across Herald Street’s premises in Bethnal Green and Bloomsbury.

Including new paintings and bronze sculpture, Others will continue Hiro’s motivation to uncover his notion of ‘unknowability’. In his uniquely corporeal approach to making, he works as both artist and subject to map the body and its psychological depths, connecting aspects of postwar Japanese body-based practices with the performance-oriented environment of Los Angeles, where he now resides. The exhibition follows prominent recent institutional exhibitions featuring Hiro’s work at the National Museum of Art, Osaka, and Mori Art Museum, Tokyo (both 2025); Whitney Museum of American Art, and MoMA, New York (both 2024) and precedes his participation in the Toronto Biennial of Art, this autumn.

Naotaka Hiro’s practice is centrally concerned with the ‘unknown’ – the parts of the body he cannot see and therefore cannot fully confirm. As he says, the ‘body is fully perceivable only through mediated forms – mirrors, cameras, recordings, shadows, or traces’. When Hiro moved from Japan to the United States to become a filmmaker, he would film himself with a camera on a tripod, assuming the role of both actor and director – a duality that held huge influence in his art-making. ‘It comes from a simple dilemma. I cannot directly see my own body with my own eyes,’ he says. ‘There’s an anxiety in this condition but also a kind of wonder, so the artwork is a way to approach the gap – which I call the unknown.’ Beginning by photographing and filming himself, Hiro’s practice later shifted to be more physical: casting his body, rubbing himself against unstretched canvas, and throwing himself onto wood panel to leave impact traces.

Hiro’s painting practice is grounded in drawing, through which he originally traced his body and bodily movements, sometimes at scales of up to six feet. These works naturally progressed to more durable canvases, which he would wrap around himself while painting, and later to hard wooden boards, through which he became able to push his body more directly against the surface from both above and below. ‘If canvas is like a full-body scanner, a wood board is like a flatbed scanner,’ he says. Influenced by his original interest in film, Hiro also makes storyboard diagrams that visually communicate the movements central to his work. Some canvases, such as Crossing, Volume 1 and Crossing, Volume 2 (both 2026), are perforated with grommets that allow rope to weave in and out of them, enabling Hiro to create restrictive three-dimensional structures that he pulls himself into and out of while applying oil stick and spraying dye.

Hiro’s paintings are produced in intense two-hour timed periods that he names ‘sessions,’ which take place over numerous consecutive days. ‘I like to have all these kinds of rules and limitations, making obstacles intentionally so I can react to the material like it’s fresh,’ he says. ‘I have tons of rules, you know, but then I always break the rules like in sports or games.’ Although the process operates intuitively, colours, motifs and forms recur throughout the works, appearing simultaneously as ‘graphics, maps, diagrams or anatomical indexing systems,’ with certain colours corresponding to particular movement across the surface, stillness, or sustained physical contact. Describing works like Untitled (Lifted) and Untitled (Dome) (both 2026), Hiro observes that ‘over time, scale-like patterns emerge across the surface, forming a skin-like structure that records both protection and exposure’ as well as leaf-like forms but ‘rather than representing natural imagery, they often emerge from concentrated points of bodily pressure and and function almost like punctuation within the larger surface.’ The exhibition also includes a stainless steel sculpture, Lump 1 (2026), made by reconfiguring a previous wax-cast body mold that has been compressed, folded, and rearranged into a configuration that would be impossible for a living body to sustain, shifting from a ‘document of bodily presence toward a structure shaped through intervention, distortion, and reconstruction.’

About his newest body of work, Hiro observes: ‘The exhibition continues my exploration of shifting position – actor/director, inside/outside, subjective/objective, immersion/observation. Across the wood panels, canvases, and sculptures, multiple perspectives and orientations coexist within a single body of work. Rather than resolving these contradictions into a stable whole, the works preserve the tension between them. Through repetition, restriction, movement, and revision, the exhibition constructs a space where distinctions remain unstable and several positions can exist simultaneously.’
– Text by Laurie Barron

Herald St | 2 Herald St, London, E2 6JT

Museum St | 43 Museum St, London, WC1A 1LY

Free

11-6 Tuesday-Saturday

Herald St presents Others, the second solo exhibition of works by Naotaka Hiro (b. 1972, Osaka, Japan; lives and works in Los Angeles, USA) which takes place across Herald Street’s premises in Bethnal Green and Bloomsbury.

Including new paintings and bronze sculpture, Others will continue Hiro’s motivation to uncover his notion of ‘unknowability’. In his uniquely corporeal approach to making, he works as both artist and subject to map the body and its psychological depths, connecting aspects of postwar Japanese body-based practices with the performance-oriented environment of Los Angeles, where he now resides. The exhibition follows prominent recent institutional exhibitions featuring Hiro’s work at the National Museum of Art, Osaka, and Mori Art Museum, Tokyo (both 2025); Whitney Museum of American Art, and MoMA, New York (both 2024) and precedes his participation in the Toronto Biennial of Art, this autumn.

Naotaka Hiro’s practice is centrally concerned with the ‘unknown’ – the parts of the body he cannot see and therefore cannot fully confirm. As he says, the ‘body is fully perceivable only through mediated forms – mirrors, cameras, recordings, shadows, or traces’. When Hiro moved from Japan to the United States to become a filmmaker, he would film himself with a camera on a tripod, assuming the role of both actor and director – a duality that held huge influence in his art-making. ‘It comes from a simple dilemma. I cannot directly see my own body with my own eyes,’ he says. ‘There’s an anxiety in this condition but also a kind of wonder, so the artwork is a way to approach the gap – which I call the unknown.’ Beginning by photographing and filming himself, Hiro’s practice later shifted to be more physical: casting his body, rubbing himself against unstretched canvas, and throwing himself onto wood panel to leave impact traces.

Hiro’s painting practice is grounded in drawing, through which he originally traced his body and bodily movements, sometimes at scales of up to six feet. These works naturally progressed to more durable canvases, which he would wrap around himself while painting, and later to hard wooden boards, through which he became able to push his body more directly against the surface from both above and below. ‘If canvas is like a full-body scanner, a wood board is like a flatbed scanner,’ he says. Influenced by his original interest in film, Hiro also makes storyboard diagrams that visually communicate the movements central to his work. Some canvases, such as Crossing, Volume 1 and Crossing, Volume 2 (both 2026), are perforated with grommets that allow rope to weave in and out of them, enabling Hiro to create restrictive three-dimensional structures that he pulls himself into and out of while applying oil stick and spraying dye.

Hiro’s paintings are produced in intense two-hour timed periods that he names ‘sessions,’ which take place over numerous consecutive days. ‘I like to have all these kinds of rules and limitations, making obstacles intentionally so I can react to the material like it’s fresh,’ he says. ‘I have tons of rules, you know, but then I always break the rules like in sports or games.’ Although the process operates intuitively, colours, motifs and forms recur throughout the works, appearing simultaneously as ‘graphics, maps, diagrams or anatomical indexing systems,’ with certain colours corresponding to particular movement across the surface, stillness, or sustained physical contact. Describing works like Untitled (Lifted) and Untitled (Dome) (both 2026), Hiro observes that ‘over time, scale-like patterns emerge across the surface, forming a skin-like structure that records both protection and exposure’ as well as leaf-like forms but ‘rather than representing natural imagery, they often emerge from concentrated points of bodily pressure and and function almost like punctuation within the larger surface.’ The exhibition also includes a stainless steel sculpture, Lump 1 (2026), made by reconfiguring a previous wax-cast body mold that has been compressed, folded, and rearranged into a configuration that would be impossible for a living body to sustain, shifting from a ‘document of bodily presence toward a structure shaped through intervention, distortion, and reconstruction.’

About his newest body of work, Hiro observes: ‘The exhibition continues my exploration of shifting position – actor/director, inside/outside, subjective/objective, immersion/observation. Across the wood panels, canvases, and sculptures, multiple perspectives and orientations coexist within a single body of work. Rather than resolving these contradictions into a stable whole, the works preserve the tension between them. Through repetition, restriction, movement, and revision, the exhibition constructs a space where distinctions remain unstable and several positions can exist simultaneously.’
– Text by Laurie Barron

Herald St | 2 Herald St, London, E2 6JT

Museum St | 43 Museum St, London, WC1A 1LY

Free

11-6 Tuesday-Saturday