Dan Flavin’s untitled (for Robert Ryman), 1996 presents a warm fluorescent light, not completely devoid of bright illuminated colour but provides a gentle contrast to three flourescent tubes, 1963 — one of the artist’s first early multi-coloured constructions. The fluorescence of the light is successful in projecting the artist’s reckoning with bold colour.

Judd plays with structure in ways that goes beyond the object itself, as observed in untitled, 1922, which inventively presents two recesses in the wall. This allows for a structural and colour dimension based depth to the work.

Overall, the exhibition is definitely a must-see for those looking for a well-rounded, interlinked and radical view of all these artists.

The sacred is underlying, also present in the still life works that appear initially stagnant but visually represent the natural emerging through a profound revelation.

The extent at which the exhibition can be considered ‘visionary’ lies in the artist’s technique of turning typically regarded isolated images into subjects of nuance and understanding.

There is a gentle interplay of illusion and allusion that allows the artist to expand the limits of painting. The artist’s level of detail extends to a contrast in loin cloths visible on the figure of Christ, which vary in their appearances through developments in the artist’s painterly technique.

Agnus Dei creates a visual rapport between viewer and vulnerable lamb with curved horns in its life-sized perfection and precise detail in the knots in its fleece, representing sacrifice but still stimulating a soft spot for the lamb.

The final work in the show, Crucified Christ with a Painter (c.1650) creates a finale where we can marvel at the spiritual experience that has manifested throughout the exhibition.

Sergey Kononov’s portraits capture sitters in a very direct manner, providing an intimacy through poses that reflect the artist’s deeper reckoning with the subject. Viewing becomes of act of ‘getting to know’ the subject, even if initially through the artists eyes. Rosalind Nashashibi’s Phosphorous Mavolio (2020) is initially visually disorientating, although we later learn to appreciate the irregularity of biomorphic forms.

The sheer variety of the works allow for a more engaging exploration of what constitutes a portrait or a person. This opens up endless possibilities around notions of being, both conceptually and through a revisitation of the past.

Intimate sketches frame the male nude in a way that captures multiple perspectives, such as a lonely self-fashioned figure by Franz von Stuck motioning his hands to the right in a quiet gesture.

Sergei Eisenstein Tapettes (c.1931) presents a filmic scene of a male nude, reminiscent of vintage film posters, side by side to another work that is visually similar.

Andy Warhols’s depiction of a single foot in Foot with Strawberries (c.1950) appears as a slight deviation from the full frontal nude form, although it provides a light relief as it presents itself a somewhat still-life next to a basket of strawberries.

Through the drawings, we observe that desire extends to more than what meets the eye.

Drawings shown for the first time within the exhibition attribute their quality not only to their visual unveiling within the exhibition space but also a particular rawness that makes a visceral viewing experience. After all, the term never exhibited before conveys more than just coming out into the open.

Drawing becomes an intimate act where the body, along with fantastical forms, undergoes a process of transformation. This practise engages the physical hand and a sense of the organic.

Family is a thread that leads us to follow an innate link between nine-year-old Paula Rego and her dear grandmother, while the exhibition makes a bittersweet ending on a drawing she made of her own granddaughter. Bodies and faces become more recognisable as we move between works, drawing ties between the presentation of figures and their environments. The exhibition becomes a liminal space where the different stages of the artist’s life unfold through stories.

The exhibition runs until 23rd May, 2026.

Expressions such as going/turning red amongst numerous others reflect that red has multiple and varied cultural and social signifiers. Also entirely fitting for this year, red marks the year of the fire horse in Chinese New Year, occurring once every 60 years.

Red dates back to red ochre visible in prehistoric cave painting and even Palaeolithic burial rituals due to its association with blood. Then there’s the enticing literary word sanguine.

Red also brings to mind colour-field paintings by major artists such as as Mark Rothko, although the exhibition’s selection of artists is a lot more strategic. The earliest work in the show (also the only work not for sale) Peinture Les Amantes - Adam et Eve (1925) by Joan Miró (1893–1983), shows a small part of red within the dreamscape of the painting, which is enough to move the painting into a different plane of existence.

Is red enough to amplify a painting’s essence? It continues to embody a bold aesthetic where its possibilities are endless.

Red runs until 24th April 2026.

The way in which the sculpture cascades and interacts with the striking tones of blues in the room evokes a nostalgia for lands unknown. It hovers above a pool of water which gives it a gentle quality of liquidity. Each individual piece of ceramic is intentionally placed to establish a dialogue between the object and the looker, where there are a multitude of gazes all happening simultaneously.

An alluring installation that is not to be missed.

Drawings dating back to the 1990s are fresh out of the artist’s studio assert a gentle presence around the more rigorous sculptures. There is an evenness between the two mediums that becomes apparent through a quiet intermingling of materials. The quality of the drawings is asserted by the material presence of the sculptures.

Although occasionally hard to decipher, the sculptures are reflections of the artist’s mastering of their own craft. The sculptural forms take on various appearances, inviting all kinds of interpretations about their true forms. Although the works on paper may present themselves as bland, they transport the viewer into an alternative dimension, while the stark materiality of the sculptures is a happy departure from the flat paper medium.

The exhibition runs until 18th April.

The naked, loin-cloth laden bodies interacting within the gallery space itself allude to the artists rendering of the male figure in light of representations of Saint Sebastian, heralded not only as a patron saint but also gay icon since the late 19th century. Saint Sebastian was heavily aestheticised by Renaissance artists, which gave way to a particular focus on his physical body from the male gaze.

The entirely Latin script within the film gently romanticises it as we make sense of the bodies and symbolism that permeate the cinematic space. Bodies interact and become intertwined while martyrdom lurks in the shadows.

The National Gallery holds 14-paintings by Saint Sebastian ranging from the Renaissance to the Baroque. The Pollaiuolo brothers' (Antonio and Piero) The Martyrdom of Saint Sebastian 1475, is a seminal piece showing Saint Sebastian and his tormentors creating a giant triangle structure, and becomes a pivotal piece in the development of the Saint’s iconography.

The film reminds us that the martyrdom isn’t all about arrows, but something that lies within the fluid movement of history into the present day.

The exhibition displays all the works by the South Asian artists included in the 1989 exhibition including Rasheed Araeen, Avinash Chandra, Avtarjeet Dhanjal, Iqbal Geoffrey, Balraj Khanna, Ahmed Parvez, Ivan Peries, Anwar Jalal Shemza, Francis Newton Souza, and Saleem Arif Quadri.

The works are presented as novelty pieces responding to Britain’s colonial legacy, with the individualised works on paper providing distinct snapshots into the South Asian artistic landscape through geometry and form. What best exemplifies this are Araeen’s works of the 1960s and 70s, which pursued notions of geometry and symmetry and responded to the colonial landscape, as well as addressing the artist’s locality based in the center of the British Empire.

The majority of the works included in this exhibition feature pen and ink drawings on paper, transforming into physical structures such as Small Black Cube (2019), with the wood transposed onto other mixed-media works such as Pink Diamond (2023). The ink wash works are hazy and transport us into steadily shifting landscapes.

The focus on form and visual renderings of architectural structures within the exhibition creates an intimate snapshot into the minds of artists responding to a shifting social and political climate. An electric revisiting that touches upon a historically rooted past.

The Other Story (Revisited) runs until 6 February, 2026.

The works on paper and paintings are subdued, monochromatic at best and not immediately eye-catching, but their charm lies in their multi-layered process. One could describe their composition as ‘graffiti-esque’ on the surface. Wool began to silkscreen his own works in the 1990s which involved a process of flattening images, applying it to canvas and adding layers of paint. While the compositions can easily be described as ‘rhythmic’, they can captivate but also create room to question the artist’s mediums and processes.

While Wool’s compositions can feel multi-layered through letters and words intertwined with lines, they also create a visual ambiguity that perhaps draws the viewers away, yet the vast scale of the sculptures capture the attention nonetheless.

Some of the portraits possess stylised features, such as large limpid eyes that appear reptilian when paired with the neon radioactive illumination on skin. Symbolism takes charge as one enters the gloomy dreamlike state, filled with signs and signifiers. The exhibition allows the viewer to focus on each individual piece while comprehending the artist’s wider narrative expressed through these unfamiliar faces.

Works such as Maiden With a Skull (2024) teeter at the macabre, where a sullen female figure, half clothed peers at a skull in the mirror. It’s something frightening made sultry. The painting brought to mind a concept — flirting with death. The artist’s theme of metamorphism, a state of transformation that runs throughout their body of work is delicately captured. There is still space to wonder if something else will scratch the surface of this macabre universe.

The exhibition runs until 31st October 2025.

Tracy Emin’s neon sign appears as slightly out of place amongst more seminal works. The visual overload adds to the muting of art historical depth, in spite of the exhibition’s aim to capture the essence of London artists reaching the center stage.

Upon a Time in London in London runs until 17th August.

The exhibition displays a range of monochromatic works such as Untitled (1997), part of the ‘Grey Paintings’ of Günther Förg, which are visually dense through visible cross hatching and possess a visual weightiness. This painting stands in contrast to André Butzer’s La Chasse (2011) which presents a grey background with bold colours on the foreground. The visual importance lies more in the grey tones, again glorifying the monochromatic.

As one moves through the exhibition space, certain works appear to hold their own place, such as Rebecca Warren’s Invention 1 (2013). The work is a playful sculpture in clay on a MDF plinth that presents a spherical object with phallic undertones. Its smooth grey surface leans towards a form of perfectionism as a result of careful modelling, but adds a dash of humour to the space which thrives on a counterbalance between form and colour.

We are encouraged to look beyond the dullness of monochrome and visualise something that knows no limits of hues.

Potential Colour runs until 2nd August, 2025

Kiefer’s mural-like canvases possess a material rawness that echoes across the exhibition art space, consisting of materials such as acrylic, gold leaf, straw, wire and sunflower seeds. Kiefer’s The Starry Night (2019) which spans 8.4m wide contains shapes such as spirals that stand out starkly amongst the myriad of materials that make up the textures and heavily layered canvases. This draws perhaps slightly mainstream parallels with Van Gogh’s monumental work The Starry Night (1889) through the rhythm created by circular spirals in the night sky.

A sculpture by Kiefer, Danaë (2019) consists of scattered sunflower seeds that extend to the floor of the exhibition, appearing to catch the golden light.

The exhibition also includes drawings and paintings that span a majority of Van Gogh’s periods. Still-life works by Van Gogh displaying calm everyday objects such as books draw on memory and the inner world, a theme that is also seen in works such as Shoes (1886).

The link between the two artists is delicate yet profound, not only in subjects and techniques but also through how ordinary seeming subject matters are made captivating.

Meaning becomes layered, and we are able to become immersed into both artists worlds laced by visions and shadowed pasts.

Kiefer / Van Gogh runs until 26 October 2025.

The figures are unfamiliar, all morphing with the gaze. The room is garish and almost jumps out at the viewer. It recalls a time when a person closes their eyes and witnesses a light show unfold at the back of their eyelid. The experience is somewhat visionary and childlike, yet under all that boldness there is a vulnerability that sits silently with the figures, one by one.

The exhibitions layout starts with a vast space then takes you into a second room, where viewers are greeted by an illuminated stained-glass clock shedding light onto all the scattered objects. You wonder what really lies beyond this simulation. The second room also presents miniature objects such as wax candles, part of Rondinone’s still.life. series of everyday objects transmuted onto bronze.

Is there really a pot of gold at the end of the rainbow?

the rainbow body runs until 2nd August, 2025.

The show is delicately orchestrated with a strong sculptural presence. A delicate Calder, Red Stalk (1955) is masterfully created from steel wire and small painted aluminium disks presents itself as a standing mobile, speaking to visual perfection.

The exhibition doesn’t demand attention through gargantuan sculptures, but instead maintains a steady balance between concept and form. There is something liberating about peering through the window-like gaps in Antony Gormley sculpture Open Close (2022), creating fragments. Physical space can become imagined, with all the sculptures holding varying weights within the confines of the exhibition space.

Yassi Mazandi’s sculptural flowers are all cog-like but take on the appearance of flowers on stalks. The exhibition transforms the sculptural into something corporeal.

We fill the void, one sculpture at a time.

Sculpted runs until 25th July, 2025.

Delhi-based Vadehra gallery showcases two local artists, Biraaj Dodiya and Gieve Patel (1940-2023). Dodiya presents abstracted works that pave the way toward a subtle transition between real and imagined space. Both artists are presented together to form a brand new narrative paved with emotion. Patel’s works present themselves as more optimistic through brighter colours, yet there is a notion that there’s bound to be something beneath the artist’s bold painterly palette.

Jhaveri Contemporary’s group exhibition ‘Horizons’ consists of artists Muhanned Cader, Lubna Chowdhary and Seher Shah. Chowdhary’s highly intricate 36 ceramic pieces as part of the work Disobedient typologies II, 2022 appear as individualised and almost perfectly crafted.

Initially, it is not immediately clear that the pieces are ceramics, but yet fascinating when all revealed visually.

Rashid Rana’s presentation at Chemould Prescott Road is electrifying and refreshing through the artist’s carefully placed collage-like compositions. The artist’s clever reckoning with the medium becomes a window to documentations of worldly resurgences, mapping the socio-political terrain. Each square image presents itself as a small window that forms a bigger picture when placed with other squares, in which we witness a moment in history. The works are precisely composed and very eye catching. The effect is profound yet moving.

The exhibitions at No.9 Cork St. run until 8 June, 2025.

The exhibition also presents a trendy dining table with playing cards, all bearing a different portrait by Boafo. It feels so much part of the exhibition as opposed to separate from it, providing some kind of relief from analysing brushwork and compositions. It could be perhaps an attempt at decontextualising the works on display through their presence on playing cards. There is a wooden panel which presents a portrait, encouraging multi-dimensional ways of looking.

Works such as Nana Asare and the Tulip Chair, 2025 display a paternal scene of a figure seated with an infant in their arms. The bodies of both figures merges together, with their clothing depicted in an off white shade that visually joins them together. The infant adorably rests its head on the body of the elder figure. An image so minimal yet so nurturing.

I Do Not Come to You by Chance runs until 24th May 2025

Corporeal forms are splayed out on the surface of the gallery’s floor, demanding attention. Human anatomy suddenly becomes captivating. We see figures in all postures, some are slouching, others are lying flat as if surrendering to the universe.

Gormley reckons with materiality, forming a new medium that is both transformative and innovative. Works such as Witness II, 1993 present a slouched figure with its head in its hands, (if that’s what the idiom stands for).

There is a form of quiet stillness around the work, which perhaps owes itself to Gormley’s preoccupations with nuclear catastrophe in the late 20th-century. The placement of the works is somewhat fragmented, although some connection exists between them.

We are encouraged to contemplate what emotions are generated through these human sculptures, although they do appear as somewhat lifeless forms. They could be interpreted as catastrophes in themselves, but it’s only human emotion. What can we do to witness our human endeavours in this world? Only the sculptures will tell.

WITNESS runs until 8th June, 2025.