{"id":273235,"date":"2025-06-04T18:43:01","date_gmt":"2025-06-04T18:43:01","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/11-must-see-exhibitions-at-london-gallery-weekend-2025\/"},"modified":"2025-06-04T18:43:01","modified_gmt":"2025-06-04T18:43:01","slug":"11-must-see-exhibitions-at-london-gallery-weekend-2025","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=273235","title":{"rendered":"11 Must-See Exhibitions at London Gallery Weekend 2025"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>Art<\/p>\n<p><a display=\"block\" text-decoration=\"none\" class=\"RouterLink__RouterAwareLink-sc-77e33c7f-0 bGjAxA\" href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-11-must-see-exhibitions-london-gallery-weekend-2025\"><\/p>\n<p>Millen Brown-Ewens<\/p>\n<p><\/a><\/p>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:4152 \/ 4938;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F9cnp87yjH_Src7kdIwswvA%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F9cnp87yjH_Src7kdIwswvA%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F9cnp87yjH_Src7kdIwswvA%2Fmain.jpg&amp;width=900 2x\" alt=\"Peter Saul, \u2018Cheeseburgers in the Art World\u2019, 2023, Painting, Acrylic on canvas, Saatchi Yates\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:3934 \/ 5303;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FjxBnPAAFQ4UP1bxDMXh3XQ%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FjxBnPAAFQ4UP1bxDMXh3XQ%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FjxBnPAAFQ4UP1bxDMXh3XQ%2Fmain.jpg&amp;width=900 2x\" alt=\"Modupeola Fadugba, \u2018The King's Seat\u2019, 2025, Mixed Media, Acrylic, graphite, and beads on burned Canvas, Gallery 1957\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>For the London art world, it\u2019s been a turbulent few years. From the impact of Brexit, to the economic uncertainty of tariffs in the last few months, there have been myriad challenges. Nonetheless, smaller spaces are increasingly emerging as engines of innovation and experimentation (as shown in Artsy\u2019s <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-art-market-trends-2025\">2025 Art Market Trends report).<\/a> <\/p>\n<p>Nowhere is this more evident than at London Gallery Weekend 2025, where the city\u2019s creative dynamism is on full display. From June 6\u20138, over 126 galleries will participate in its fifth edition, including 15 new U.K. and international additions. Out of these, 11 spaces, including <a href=\"https:\/\/www.artsy.net\/partner\/perrotin\">Perrotin<\/a>, William Hine, and <a href=\"https:\/\/www.artsy.net\/partner\/upsilon-gallery\">Upsilon Gallery<\/a>, have opened London outposts in the past two years. <\/p>\n<p>Visitor numbers are climbing and galleries are responding with ambitious programming that extends far beyond four walls. Sadie Coles HQ, for instance, will present a live reading by <a href=\"https:\/\/www.artsy.net\/artist\/precious-okoyomon\">Precious Okoyomon<\/a>. Meanwhile in Bloomsbury, shows at <a href=\"https:\/\/www.artsy.net\/partner\/canopy-collections\">Canopy Collections<\/a>, <a href=\"https:\/\/www.artsy.net\/partner\/cob\">Cob<\/a>, and <a href=\"https:\/\/www.artsy.net\/partner\/mamoth\">Mamoth<\/a> present some of the finest tastemaking painting shows in the city. Notably, this year also marks the 40th anniversary of the founding of <a href=\"https:\/\/www.artsy.net\/partner\/victoria-miro\">Victoria Miro<\/a>. The gallery will celebrate with an expansive exhibition of works by its roster of represented artists. <\/p>\n<p>Below, we\u2019ve selected 11 shows not to be missed during London Gallery Weekend 2025.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/saatchi-yates-peter-saul?sort=partner_show_position\">Peter Saul<\/a>\u201dat <a href=\"https:\/\/www.artsy.net\/partner\/saatchi-yates\">Saatchi Yates<\/a><\/h3>\n<h3>Through June 9 <\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:5570 \/ 3968;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FE24yUfAyJqgJ72wjfpvfZw%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FE24yUfAyJqgJ72wjfpvfZw%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FE24yUfAyJqgJ72wjfpvfZw%2Fmain.jpg&amp;width=1820 2x\" alt=\"Peter Saul, \u2018Global Warming II\u2019, 2023, Painting, Acrylic on canvas, Saatchi Yates\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>Despite a career spanning more than six decades and nearly 800 paintings, <a href=\"https:\/\/www.artsy.net\/artist\/peter-saul\">Peter Saul<\/a> has always existed on the fringes of an art establishment, which was slow to acknowledge him. In a 2008 <a href=\"https:\/\/bombmagazine.org\/articles\/2008\/07\/01\/peter-saul\/\">interview<\/a> with <em>Bomb<\/em> <em>Magazine<\/em>, he questioned the notion of artistic success: \u201cI live in a one-bedroom apartment\u2026commute an hour to a shared Brooklyn studio\u2026 stretch my own canvases. I chose this life, and I\u2019m having fun, but where are the millions I\u2019m supposed to have?\u201d Though skeptical of conventional measures of success, Saul\u2019s bold, confrontational style\u2014an energetic fusion of <a href=\"https:\/\/www.artsy.net\/collection\/cubism\">Cubism<\/a>, <a href=\"https:\/\/www.artsy.net\/gene\/surrealism\">Surrealism<\/a>, and <a href=\"https:\/\/www.artsy.net\/gene\/expressionism\">Expressionism<\/a>\u2014is now recognised globally, with his work featured in major permanent collections.<\/p>\n<p>Famous for his grotesque distortions and razor-sharp satire, the 90-year-old artist continues to skewer the absurdities of power, politics, and culture. In his solo exhibition at <a href=\"https:\/\/www.artsy.net\/partner\/saatchi-yates\">Saatchi Yates<\/a>, presented in collaboration with <a href=\"https:\/\/www.artsy.net\/partner\/venus-over-manhattan\">Venus Over Manhattan<\/a>, Saul turns his irreverent gaze inward, taking jabs at the contemporary art market with his usual gusto. In the painting <em>Bad Day at the Gallery<\/em> (2023), bodies melt, burst, and twist as frantic dealers scramble amid swirling cash and warped canvases. With slapstick energy and acidic humour, Saul critiques the marriage of culture and commerce that he perceives in the art world.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/cob-like-lovers-do\">Like Lovers Do<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/cob\">Cob<\/a><\/h3>\n<h3>Through June 21<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:1500 \/ 2000;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FrbShTKNmFC0HyHqZMNne5Q%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FrbShTKNmFC0HyHqZMNne5Q%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FrbShTKNmFC0HyHqZMNne5Q%2Fmain.jpg&amp;width=900 2x\" alt=\"Katelyn Eichwald, \u2018They Say You Were Something In Those Formative Years\u2019, 2025, Painting, Oil on burlap, Cob\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:1500 \/ 2000;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ffk-L6Uwwn0No6dbHlm8C6A%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ffk-L6Uwwn0No6dbHlm8C6A%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ffk-L6Uwwn0No6dbHlm8C6A%2Fmain.jpg&amp;width=900 2x\" alt=\"Katelyn Eichwald, \u2018Spring 1998\u2019, 2025, Painting, Oil on linen, Cob\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>American artist <a href=\"https:\/\/www.artsy.net\/artist\/katelyn-eichwald\">Katelyn Eichwald<\/a> makes her U.K. debut at <a href=\"https:\/\/www.artsy.net\/partner\/cob\">Cob<\/a> this spring with \u201cLike Lovers Do,\u201d an ode to tender, elusive moments of adolescence. The exhibition comprises a series of small paintings on canvas, hessian, and linen, alongside collages on paper\u2014emotional vignettes that read like devotional diary entries. Working in oil on rough, absorbent surfaces, Eichwald scrubs into the fabric as if trying to lift something away. What emerges are hazy, sunken images that mirror the textures of memory and fantasy. <\/p>\n<p>Her visual narration relies on a finely tuned lexicon of girlhood that will feel familiar to <a href=\"https:\/\/www.artsy.net\/artist\/sofia-coppola\">Sofia Coppola<\/a> devotees: butterflies, flowers, lipstick stains, lace-hemmed lingerie, ditsy floral teacups. These motifs are not mere decoration, but talismans\u2014indications of a private world where innocence edges into desire, and fantasy offers both escape and entrapment. Rather than depicting girlhood literally, Eichwald visualizes its psychic theater. Here, personal possessions and obsessions are shrouded in romantic myth. <\/p>\n<p><em>Discover <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-7-artists-follow-sofia-coppola\">new artists to follow if you like Sofia Coppola\u2019s distinctive style<\/a>. <\/em><\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/opera-gallery-anselm-reyle-sunrise-mission?sort=partner_show_position\">Sunrise Mission<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/opera-gallery\">Opera Gallery<\/a><\/h3>\n<h3>Through July 3<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:780 \/ 923;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FPOGRQnerxlJWoWHgcCrT8w%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FPOGRQnerxlJWoWHgcCrT8w%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FPOGRQnerxlJWoWHgcCrT8w%2Fmain.jpg&amp;width=900 2x\" alt=\"Anselm Reyle, \u2018Untitled \u2019, 2025, Painting, Mixed media on burlap, chrome optics, Opera Gallery\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:2978 \/ 3543;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F1KwjybS4pmtSxI8c73I0yQ%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F1KwjybS4pmtSxI8c73I0yQ%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F1KwjybS4pmtSxI8c73I0yQ%2Fmain.jpg&amp;width=900 2x\" alt=\"Anselm Reyle, \u2018Untitled \u2019, 2025, Painting, Mixed media on canvas, Opera Gallery\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>For his first major solo show in London, Berlin-based artist <a href=\"https:\/\/www.artsy.net\/artist\/anselm-reyle\">Anselm Reyle<\/a> presents \u201cSunrise Mission,\u201d a vivid exploration of modern abstraction. Material experimentation is, without a doubt, the cornerstone of Reyle\u2019s practice, in which he brings together industrial elements like aluminum, mirrors, and neon lights with traditional painterly gestures. His vibrant compositions draw on various movements within 20th-century abstract art, from <a href=\"https:\/\/www.artsy.net\/gene\/abstract-expressionism\">Abstract Expressionism<\/a> to <a href=\"https:\/\/www.artsy.net\/gene\/minimalism\">Minimalism<\/a>. <\/p>\n<p>Reyle\u2019s presentation at <a href=\"https:\/\/www.artsy.net\/partner\/opera-gallery\">Opera Gallery<\/a> includes a range of works that reaffirm this experimental spirit, including several stools\u2014never before commercially exhibited\u2014created in collaboration with Austrian artist <a href=\"https:\/\/www.artsy.net\/artist\/franz-west\">Franz West<\/a> before his passing in 2012. Blending functionality with conceptual rigor, these pieces reflect the playful, cerebral ethos shared by both artists. \u201cSunrise Mission\u201d also debuts the final version of his \u201cChrome Brushstroke\u201d series of paintings, which he began in 2024. \u201cFor quite some time, I have been working with texture pastes that mimic the thick application of oil paint,\u201d he explained in the press release. \u201cThis led me to the idea of having brushstrokes chrome-plated and integrating them into the painting.\u201d<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/public-gallery-dotty-attie-40-years?sort=partner_show_position\">40 Years<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/public-gallery\">Public Gallery<\/a><\/h3>\n<h3>Through June 28<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:5999 \/ 4000;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FN3EVn6nuPQSA1VzviVewjw%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FN3EVn6nuPQSA1VzviVewjw%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FN3EVn6nuPQSA1VzviVewjw%2Fmain.jpg&amp;width=1820 2x\" alt=\"Dotty Attie, \u2018Mixed Metaphors\u2019, 1993, Painting, Oil on linen, 36 panels, Public Gallery\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>Within the rigid structure of the grid, <a href=\"https:\/\/www.artsy.net\/artist\/dotty-attie\">Dotty Attie<\/a> has found a means to subtly dismantle the fixed narratives of art history. A pioneering figure in <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-artist-run-galleries-shaped-new-yorks-downtown-art-scene\">New York\u2019s 1970s downtown art scene <\/a>Attie was the co-founder of the first all-female cooperative art gallery in America, A.I.R. Since then, she has spent over five decades quietly subverting the patriarchal foundations of Western art. Her use of line and repetition imparts a sense of order, which she then unravels by adding fragmentary imagery and disquieting text that challenges what initially appear stable. <\/p>\n<p>\u201c40 Years,\u201d on view at <a href=\"https:\/\/www.artsy.net\/partner\/public-gallery\">Public Gallery<\/a>, offers a rare opportunity to trace the evolution of her practice, from her early graphite renderings to later more textually charged compositions that borrow imagery from pop culture and Hollywood. In one of her final graphic works, <em>In Old Age He Painted<\/em> (1986), Attie reconfigures <a href=\"https:\/\/www.artsy.net\/artist\/jean-auguste-dominique-ingres\">Jean-Auguste-Dominique Ingres<\/a>\u2019 canonical images into a visual sliding puzzle. Here, she exposes the arbitrary, constructed nature of the female archetypes that the French neoclassical painter drew on. By the 1990s, she had started drawing on the work of <a href=\"https:\/\/www.artsy.net\/gene\/old-masters\">Old Masters<\/a>. In the painting <em>Mixed Metaphors<\/em> (1993), for example, astonished faces surround <a href=\"https:\/\/www.artsy.net\/artist\/gustave-courbet\">Courbet<\/a>\u2019s famous painting of female genitalia, <em>L\u2019origine du monde <\/em>(1866), implicating the viewer\u2019s gaze, too. Attie\u2019s mischievous, sometimes unsettling, reconstructions are all about looking again, encouraging us to pick the piece that best fits our own interpretations. <\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/white-cube-richard-hunt-metamorphosis-a-retrospective?sort=partner_show_position\">Metamorphosis \u2013 A Retrospective<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/white-cube\">White Cube<\/a> BermondseyThrough June 29<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:2360 \/ 1769;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FRGPDvSgOpUiqrH_FaaQwEQ%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FRGPDvSgOpUiqrH_FaaQwEQ%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FRGPDvSgOpUiqrH_FaaQwEQ%2Fmain.jpg&amp;width=1820 2x\" alt=\"Richard Hunt, \u2018Opposed Linear Forms\u2019, 1961, Sculpture, Welded chromed steel, White Cube\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>It\u2019s no mean feat to make cold steel pulse with life, yet <a href=\"https:\/\/www.artsy.net\/artist\/richard-hunt\">Hunt\u2019s<\/a> industrial specimens of the new age undoubtedly do. The forms stretch, pretzel, and reach as if caught mid-transformation, alive with tension and motion. Continuing a London Gallery Weekend of firsts, <a href=\"https:\/\/www.artsy.net\/partner\/white-cube\">White Cube<\/a>\u2019s Bermondsey space presents \u201cMetamorphosis \u2013A Retrospective,\u201d the first major European retrospective of the pioneering American sculptor who <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-american-pioneer-public-art-richard-hunt-died-88\">died<\/a> in 2023. <\/p>\n<p>Hunt\u2019s inspirations were incredibly diverse. In the early work <em>Growth Form<\/em> (1957), the rhythms of the natural world are forged in metal, as abstract, linear gestures that unfurl and surge upwards like a flower\u2019s pistil. These cycles captured the artist\u2019s intention, as he once put it, \u201cto develop the kind of forms Nature might create if only heat and steel were available to her.\u201d Elsewhere, a trio of open line structures\u2014<em>Opposed Linear Forms<\/em> (1961), <em>Linear Peregrination<\/em> (1962), and <em>Linear Sequence<\/em> (1962)\u2014reflect Hunt\u2019s sustained fascination with classical mythology, translating Ovid\u2019s <em>Metamorphoses<\/em> into strained, primitive forms that evoke movement and change. <\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/maximillian-william-holder-up\">Holder Up<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/maximillian-william\">Maximilian William<\/a><\/h3>\n<h3>Through June 14<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:8192 \/ 5464;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F7_2zM3LA8Ulg0Xmyrm59lg%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F7_2zM3LA8Ulg0Xmyrm59lg%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F7_2zM3LA8Ulg0Xmyrm59lg%2Fmain.jpg&amp;width=1820 2x\" alt=\"Ro Robertson, \u2018Alcove\u2019, 2024, Sculpture, Mild steel, marine paint, sea water, electrodes, blue rope, rocks, MAXIMILLIAN WILLIAM\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>Similarly working against the usual connotations of steel is Sunderland-born artist <a href=\"https:\/\/www.artsy.net\/artist\/ro-robertson\">Ro Robertson<\/a>. Their exhibition, \u201cHolder Up\u201d\u2014their third with <a href=\"https:\/\/www.artsy.net\/partner\/maximillian-william\">Maximillian William<\/a>\u2014drinks deep from a well of working-class history and how human bodies engage with heavy industry. <\/p>\n<p>The title refers to Robertson\u2019s great-grandfather, a shipyard worker and \u2018holder up\u2019 who braced red-hot rivets as they were hammered into steel structures. This inherited legacy runs through Roberton\u2019s new body of work, where welded steel sculptures, drawings, and collages translate industrial labor into rhythmic, abstract forms. <\/p>\n<p>Where there is an awareness of scale and force, Robertson introduces vulnerability as a counterweight. At the heart of the show are <em>Holder Up I<\/em> and <em>II <\/em>(2025), two dynamic steel forms that appear to move in tandem\u2014like hands working in sync, or bodies locked in a silent duet. Across the gallery, there are drawings that bear the marks of a steel edge, surface rust, and ink. Elsewhere, sculptural wall hangings\u2014made from painted sheet metal riveted to wood\u2014create a physical presence for this industrial memory. <\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201cMy Country\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/pace-gallery\">Pace Gallery<\/a><\/h3>\n<h3>June 6\u2013August 8<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:3000 \/ 1697;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2FVKOo-3z2SkMBOr5-P20T0Q%252F95154_EKK.jpeg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2FVKOo-3z2SkMBOr5-P20T0Q%252F95154_EKK.jpeg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2FVKOo-3z2SkMBOr5-P20T0Q%252F95154_EKK.jpeg&amp;width=1820 2x\" alt=\"\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 kdTUFJ\">\n<div overflow=\"hidden\" class=\"Box-sc-15se88d-0 dyysfQ\">\n<div class=\"Box-sc-15se88d-0\">\n<div color=\"mono60\" font-family=\"sans\" class=\"Box-sc-15se88d-0 Text-sc-18gcpao-0 HTML__Container-sc-1im40xc-0 irDwAE bbAxnM eaQyqh\">\n<p>Emily Kam Kngwarray <i>Alhalker (I)<\/i>, 1992. \u00a9 Emily Kam Kngwarray\/Copyright Agency<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p><a href=\"https:\/\/www.artsy.net\/artist\/emily-kame-kngwarreye\">Emily Kam Kngwarray<\/a>, one of Australia\u2019s most important contemporary artists, is finally receiving the international recognition she deserves. Coinciding with Tate Modern\u2019s major survey of the Indigenous artist opening in July, <a href=\"https:\/\/www.artsy.net\/partner\/pace-gallery\">Pace Gallery<\/a> will mount the first ever U.K. exhibition dedicated to her paintings and textile works. <\/p>\n<p>Kngwarray was from Utopia, an Aboriginal community 250 kilometers northeast of Alice Springs in Australia\u2019s Northern Territory. A senior Anmatyerre woman and custodian of Alhalker Country, she didn\u2019t begin painting in earnest until her seventies, yet she produced more than 3,000 works in just over eight years. Without formal training or exposure to international art movements, she developed a distinct visual language rooted in ceremonial practice and a holistic relationship to her homeland. Using the colors and symbols of Indigenous creation stories, her paintings act somewhat like experiential maps\u2014each gestural brushstroke marking the cyclical rhythms of plants and animals. <\/p>\n<p>At Pace, her bold <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-meet-artists-reinventing-pointillism-19th-century-technique\">pointillist<\/a> <a href=\"https:\/\/www.artsy.net\/gene\/color-field-painting\">color field paintings<\/a> are shown alongside historical and contemporary batiks by artists influenced by her early textile work, marking a long-overdue reevaluation of her role in global modernism and the broader impact of Indigenous art on 20th-century practice.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/lyndsey-ingram-powder-puff?sort=partner_show_position\">Powder Puff<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/lyndsey-ingram\">Lyndsey Ingram<\/a><\/h3>\n<h3>Through June 8<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:3131 \/ 3754;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F98OTtemq24VDZ_uNKy-Q7A%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F98OTtemq24VDZ_uNKy-Q7A%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F98OTtemq24VDZ_uNKy-Q7A%2Fmain.jpg&amp;width=900 2x\" alt=\"Florence Houston, \u2018Gauloise\u2019, 2024, Painting, Oil on canvas., Lyndsey Ingram\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:3613 \/ 5023;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FfIXy3wnCD2hbcnEzOzWw_g%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FfIXy3wnCD2hbcnEzOzWw_g%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FfIXy3wnCD2hbcnEzOzWw_g%2Fmain.jpg&amp;width=900 2x\" alt=\"Florence Houston, \u2018Cosmic Cherry\u2019, 2024, Painting, Oil on canvas., Lyndsey Ingram\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>The 18 new oil paintings in <a href=\"https:\/\/www.artsy.net\/artist\/florence-houston\">Florence Houston<\/a>\u2019s exhibition \u201cPowder Puff\u201d showcase the artist\u2019s growing fascination with food designed to be admired rather than consumed\u2014most notably, jelly. Inspired by Victorian illustrations and childhood nostalgia, she began painting the curious confections in 2021, drawn to their strange duality: beautiful yet grotesque, decorative, yet for the most part, tasteless. <\/p>\n<p>In the paintings <em><a href=\"https:\/\/www.artsy.net\/artwork\/florence-houston-gauloise\">Gauloise<\/a><\/em> and <em>Aspic<\/em> (both 2024), for example, she captures the elaborate forms of molded jellies in vivid hues\u2014arsenic green and deep red\u2014against restrained backgrounds. This choice highlights her subjects\u2019 surreal, slippery charm. Given Houston is a graduate of the Charles H. Cecil Studio in Florence, it is no surprise then that her paintings reveal a classical precision, bringing academic technique to these wobbling forms. Her work is reminiscent of <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-contemporary-painters-channeling-luxe-lifes-dutch-golden-age\">Dutch still lifes<\/a>, not only through meticulous realism but also in the artist\u2019s acute attention to beauty. These paintings bring an introverted flamboyancy to these overlooked and downright absurd objects that are made to be seen, not savored.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/gallery-1957-of-movement-materials-and-methods?sort=partner_show_position\">Of Movement, Materials and Methods<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/gallery-1957\">Gallery 1957 <\/a><\/h3>\n<h3>Through June 29<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:5691 \/ 3766;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ft80jwIBGJ_p0HcDSUt_E0Q%2Fmain.jpg&amp;width=910\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ft80jwIBGJ_p0HcDSUt_E0Q%2Fmain.jpg&amp;width=910 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Ft80jwIBGJ_p0HcDSUt_E0Q%2Fmain.jpg&amp;width=1820 2x\" alt=\"Modupeola Fadugba, \u2018Esin On\u00edl\u00e8k\u00e8\u2019, 2025, Mixed Media, Acrylic and beads on burned Canvas, Gallery 1957\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>Nearly a decade after her London debut at <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-1-54-london-2024-brings-new-voices-contemporary-african-art-fore\">1:54 Contemporary African Art Fair<\/a>, Nigerian artist <a href=\"https:\/\/www.artsy.net\/artist\/modupeola-fadugba\">Modupeola Fadugba<\/a> returns on the heels of winning the 2025 Norval Sovereign African Art Prize. Her latest exhibition, \u201c<a href=\"https:\/\/www.artsy.net\/show\/gallery-1957-of-movement-materials-and-methods?sort=partner_show_position\">Of Movement, Materials and Methods<\/a>,\u201d on view at <a href=\"https:\/\/www.artsy.net\/partner\/gallery-1957\">Gallery 1957<\/a>, marks an exciting evolution in her practice. <\/p>\n<p>She has often been inspired by water, as in her acclaimed series of paintings, \u201cTagged\u201d (2015\u201317), depicting solitary swimmers. However, her new canvases explore the vibrant, collective choreography of the Ojude Oba festival\u2014an annual celebration of Yoruba heritage in Ijebu-Ode, Nigeria. She portrays the festival\u2019s patriarchs rich in ceremonial symbolism. Throughout the exhibition, but particularly in <em>The Kiss<\/em> (2025) and <em>The Coronation<\/em> (2025), Fadugba uses scratches on her painting and visible pencil marks to convey depth and movement. Elsewhere, <em>The King\u2019s Seat<\/em> (2025) portrays a beaded saddle set against a burned mosaic canvas of acrylic and graphite mosaic. Collaborating with local artisans, Fadugba transforms material into memory, and tradition into a living, contemporary language.<\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/lamb-valentino-cortazar-and-daisy-dodd-noble-dialogues?sort=partner_show_position\">Dialogues<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/lamb\">LAMB<\/a><\/h3>\n<h3>Through June 28<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:2560 \/ 1829;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Fzre6IeD6ERaq6n7R9aGPyQ%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Fzre6IeD6ERaq6n7R9aGPyQ%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2Fzre6IeD6ERaq6n7R9aGPyQ%2Fmain.jpg&amp;width=900 2x\" alt=\"Valentino Cortazar, \u2018La Sierra\u2019, 2025, Painting, Oil on canvas, LAMB\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:2560 \/ 1829;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FybuW6Kri0B2tO-1uo5bbPw%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FybuW6Kri0B2tO-1uo5bbPw%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FybuW6Kri0B2tO-1uo5bbPw%2Fmain.jpg&amp;width=900 2x\" alt=\"Daisy Dodd-Noble, \u2018Pink sunset study\u2019, 2023, Painting, Oil on canvas, LAMB\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<p>For the second iteration of its annual exhibition series, \u201c<a href=\"https:\/\/www.artsy.net\/show\/lamb-valentino-cortazar-and-daisy-dodd-noble-dialogues?sort=partner_show_position\">Dialogues<\/a>,\u201d LAMB pairs works by Colombian painter <a href=\"https:\/\/www.artsy.net\/artist\/valentino-cortazar\">Valentino Cort\u00e1zar<\/a> with those of British painter <a href=\"https:\/\/www.artsy.net\/artist\/daisy-dodd-noble-1\">Daisy Dodd-Noble<\/a>. Despite being born some 40 years apart, there\u2019s a striking affinity in their Surrealist approaches that reimagine the artistic tradition of landscape painting. Cort\u00e1zar\u2019s ethereal depictions of Colombia\u2019s lush, variegated terrain draw from both the technical language of European art movements and his understanding of his homeland. In contrast, Dodd-Noble\u2019s vibrant, whimsical landscapes evoke untouched, almost mythical environments, shaped by her travels and rooted in the natural rhythms of distant, sunlit locales. <\/p>\n<p>Through their dialogue that spans time and geography, the pair are unified by their sensitivity to the natural world. Their paintings are timely reflections of our collective yearning for escapism in the face of environmental transformation. <\/p>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM\">\n<h3>\u201c<a href=\"https:\/\/www.artsy.net\/show\/stephen-friedman-gallery-jaune-quick-to-see-smith-rooted-in-memory?sort=partner_show_position\">Rooted in Memory<\/a>\u201d at <a href=\"https:\/\/www.artsy.net\/partner\/stephen-friedman-gallery\">Stephen Friedman Gallery<\/a><\/h3>\n<h3>June 6-\u2013July 19<\/h3>\n<\/div>\n<div class=\"Box-sc-15se88d-0\">\n<div display=\"flex\" class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 idkEHS\">\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:4531 \/ 6702;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FAyJ8ZvG8XFoD4zAMkljKAg%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FAyJ8ZvG8XFoD4zAMkljKAg%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FAyJ8ZvG8XFoD4zAMkljKAg%2Fmain.jpg&amp;width=900 2x\" alt=\"Jaune Quick-to-See Smith, \u2018Tierra Madre: Debra Haaland\u2019, 2024-2025, Painting, Acrylic and collage on canvas, Stephen Friedman Gallery\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<div width=\"100%\" overflow=\"hidden\" style=\"aspect-ratio:4532 \/ 6693;max-width:100%\" class=\"Box-sc-15se88d-0 jJVzlg\"><button width=\"100%\" height=\"100%\" cursor=\"pointer\" type=\"button\" class=\"Clickable-sc-10cr82y-0 ArticleZoomButton__Button-sc-1dcbc19e-1 hgRaTA ivFEyf\"><\/p>\n<div width=\"100%\" height=\"100%\" class=\"Box-sc-15se88d-0 fnOOKv\"><img decoding=\"async\" width=\"100%\" height=\"100%\" display=\"block\" style=\"transition:opacity 0.2s ease-in-out;opacity:0\" loading=\"lazy\" src=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FY2C9RykbnBP25kl81Soz2Q%2Fmain.jpg&amp;width=450\" srcset=\"https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FY2C9RykbnBP25kl81Soz2Q%2Fmain.jpg&amp;width=450 1x, https:\/\/d7hftxdivxxvm.cloudfront.net?quality=80&amp;resize_to=width&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FY2C9RykbnBP25kl81Soz2Q%2Fmain.jpg&amp;width=900 2x\" alt=\"Jaune Quick-to-See Smith, \u2018Nature\u2019, 2000, Painting, Acrylic on canvas, Stephen Friedman Gallery\" class=\"Box-sc-15se88d-0 guRykI\"\/><\/div>\n<p><\/button><\/div>\n<\/div>\n<\/div>\n<div class=\"Box-sc-15se88d-0 ArticleHTML__Container-sc-7ab71dd0-0 hsljei eERRsM ArticleSectionText__ArticleHTMLLastChild-sc-dc4648d4-1 fFJXgY\">\n<p><a href=\"https:\/\/www.artsy.net\/artist\/jaune-quick-to-see-smith\">Jaune Quick-to-See Smith<\/a>, who <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-jaune-quick-to-see-smith-dies-85\">died earlier this year<\/a>, was a groundbreaking artist, curator, and activist of Salish and Kootenai descent. Over a career spanning five decades, she became one of the most <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-11-influential-native-american-artists\">influential Native American voices in contemporary art<\/a>, appropriating the iconography of American popular culture and Western art history to center Indigenous experiences. Her impact reached a historic milestone in 2020 when the <a href=\"https:\/\/www.artsy.net\/partner\/national-gallery-of-art-washington-dc\">National Gallery of Art<\/a> in Washington, D.C., acquired the mixed-media piece <em>I See Red: Target<\/em> (1992)\u2014a fierce response to the legacy of Christopher Columbus. It marked the first time a Native American artist had entered the museum\u2019s collection.<\/p>\n<p><a href=\"https:\/\/www.artsy.net\/partner\/stephen-friedman-gallery\">Stephen Friedman Gallery<\/a> (which recently <a href=\"https:\/\/www.artsy.net\/article\/artsy-editorial-jaune-quick-to-see-smith-will-represented-stephen-friedman-gallery\">announced its representation<\/a> of the artist) here presents a retrospective that reflects Smith\u2019s ambition. The show is broad: encompassing painting, drawing, printmaking, and sculpture, but it also showcases the artist\u2019s tireless advocacy. \u201cRooted in Memory\u201d opens with a room devoted to the last body of work Smith completed in the months before her death earlier this year, the \u201cTierra Madre\u201dpaintings. These works represent the culmination of Smith\u2019s concern with Indigenous empowerment, land rights, and environmental justice. Each pays homage to a central female figure known for their political activism, such as Wilma Mankiller, the first woman elected to serve as Principal Chief of the Cherokee Nation, and Scottish singer and human rights campaigner <a href=\"https:\/\/www.artsy.net\/artist\/annie-lennox\">Annie Lennox<\/a>.<\/p>\n<\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Art Millen Brown-Ewens For the London art world, it\u2019s been a turbulent few years. From the impact of Brexit, to the economic uncertainty of tariffs in the last few months, there have been myriad challenges. Nonetheless, smaller spaces are increasingly emerging as engines of innovation and experimentation (as shown in Artsy\u2019s 2025 Art Market Trends [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":273236,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[99587,99588,99584,18313,99591,13842,99586,1543,99592,54399,99585,99589,99590,99593,4766],"dealstore":[],"offerexpiration":[],"class_list":["post-273235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-anselm-reyle","tag-dotty-attie","tag-exhibition-roundups","tag-exhibitions","tag-florence-houston","tag-gallery","tag-katelyn-eichwald","tag-london","tag-modupeola-fadugba","tag-mustsee","tag-peter-saul","tag-richard-hunt","tag-ro-robertson","tag-valentino-cortazar","tag-weekend"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>11 Must-See Exhibitions at London Gallery Weekend 2025 - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=273235\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"11 Must-See Exhibitions at London Gallery Weekend 2025 - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Art Millen Brown-Ewens For the London art world, it\u2019s been a turbulent few years. From the impact of Brexit, to the economic uncertainty of tariffs in the last few months, there have been myriad challenges. 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Som2ny Network","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/fivemor.com\/?p=273235","og_locale":"en_US","og_type":"article","og_title":"11 Must-See Exhibitions at London Gallery Weekend 2025 - Som2ny Network","og_description":"Art Millen Brown-Ewens For the London art world, it\u2019s been a turbulent few years. From the impact of Brexit, to the economic uncertainty of tariffs in the last few months, there have been myriad challenges. 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