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Amie Siegel: Strata

From the world’s deepest underground marble quarry to a fragment of pink marble from Trump Towers, via Fr...

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Tara Donovan: ‘I’m interested in exploring the moment where the condit...

The artist explains that, although her latest work, Com...

House Work

The house and its potential as a home, a prison, a marker in one’s life, is fertile territory and an inspired idea...

The Place Is Here

The 1980s were a fertile time for black British artists to interrogate their experience of racial division, econo...

David Hockney

Celebrating 60 years of Hockney’s work, this exhibition charts the art of a modern great through decades of cha...

Vanessa Bell (1879-1961)

While Vanessa Bell stands strong as an artist in her own right, her art can nevertheless not be separated ...

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Yuko Mohri: ‘I’m very curious about organic ecosystems’

The Japanese artist Yuko Mohri’s exhibition at White Rainbow is...

Vera Möller: ‘My father thought going to art school was like wanting to...

The German-born artist explains why she first studied b...

Bouchra Khalili

In her first solo UK exhibition, French-Moroccan artist Bouchra Khalili explores the fraught concepts of freedom, n...

Thomas Hirschhorn: ‘The Gramsci Monument, like all monuments, is made fo...

The artist talks about his commitment to art in public ...

A Revolutionary Impulse: The Rise of the Russian Avant-Garde

This exhibition of Russian art from the 1920s and 30s, based on MoMA&r...

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Conceptual Art Now

Three exhibitions of conceptual art in Germany shed some light on the elusive genre. Taryn Simon’s Dresden...

Sussex Modernism: Retreat and Rebellion

Unravelling some of the interwoven and incestuous tales relating to the 20th-century modern...

Laura Oldfield Ford: ‘I map ruptures, such as the London riots’

Oldfield Ford spends a lot of time walking through the capital&...

Candida Powell-Williams: ‘Each object becomes more than just the narrati...

The artist shows us round her immersive installation, e...

Richard Wilson: Stealing Space

‘I’m just making the unknown real,’ says Wilson, about his new exhibition, Stealin...

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John Baldessari: Miró and Life in General

As he continues his late-career conversation with art history, the archetypical Californ...

TeamLab: Transcending Boundaries

If there were a happiness index for exhibitions, then teamLab: Transcending Boundaries would score...

Mai-Thu Perret: ‘I had this urge to portray these female warriors’

The multi-disciplinary artist talks about her continuing fic...

Jamie Crewe: Female Executioner

Seeking ancestry in a controversial and pornographic 19th-century French novel, this queer, transfe...

Linda Stupart: ‘I’m interested in thinking about a world without men’

The writer, sculptor and performance artist talks about...

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David Brian Smith: ‘My cause is to fight for the plight of the English c...

The painter’s pop-coloured vision of the English ...

One and Other

The Zabludowicz Collection sets the stage for a shrewd reflection on the real versus the created self in the modern a...

Sheida Soleimani: ‘Does someone really want to buy an image of an execut...

Surrounded by her neon memorials to women killed in Ira...

Terrains of the Body: Photography from the National Museum of Women in the...

Building on the legacy of feminist art from the 1970s, ...

Ed Webb-Ingall: ‘I am a product of lesbian history and a child of sectio...

The video-maker talks about working with communities, h...

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Rezi van Lankveld: ‘I pour paint to make a “happening” in the painti...

The Dutch painter explains how her attitude to painting...

The Studio and the Arts and Crafts Movement

The originators of The Studio, from its inception, were keenly aware that the ...

Strange Worlds: Visions of Angela Carter

To mark the 25th anniversary of Carter’s death, this exhibition brings together work...

Sergei Eisenstein: Drawings, 1931-1948

Known as a film-maker, Eisenstein also excelled at drawing. This exhibition presents a rare ...



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