A sealed Victorian strongroom under Chancery Lane, forty minutes of voices in the dark, and the moment they all start shouting at once. Free until 18 October.
May 24, 2026Comments are off for this post.
Christo Air Review: Gagosian’s Lost Cloud Lands in London
Last updated: 23 May 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
Cool Factor: 4/5
Some shows you walk through. This one you stand inside. Our Christo Air review covers the moment a lost 1968 idea finally turns real, suspended just above your head in a Mayfair gallery. Christo: Air opened at Gagosian on Grosvenor Hill on 21 May 2026, and it centres on a single, glowing cloud that the artist never lived to see built. Below, we unpack what genuinely works, what falls a little short, and whether this Christo Air review lands the show among the capital's must-see exhibitions this summer.
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May 23, 2026Comments are off for this post.
Stubbs: Portrait of a Horse Review – National Gallery 2026
Last updated: 23 May 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
This Stubbs Portrait of a Horse review follows a slow afternoon spent in Room 1 of the National Gallery, where one of British painting's rarest masterpieces is on free display until 31 May 2026. Indeed, this is a small show with a huge centrepiece. Above all, it offers a once-in-a-generation chance to see Scrub, a bay horse belonging to the Marquess of Rockingham, a 1762 portrait that has only ever appeared in public once before. So if British painting, animal art, or sheer ambition on canvas interests you in any way, do not skip this one.
Cool Factor: 4/5
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May 18, 2026Comments are off for this post.
Milly Thompson Aroma Venus Review: A Posthumous Triumph at Amanda Wilkinson Gallery
Last updated: 10 May 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice. This post contains a small number of affiliate links in the related-content section at the bottom, none of which influence the review itself.
Cool Factor: 5/5 Ice cold
The Milly Thompson Aroma Venus show at Amanda Wilkinson Gallery is, hands down, the warmest, wittiest, most quietly furious thing I have walked into in London this year. It is also posthumous, so going in I was a bit nervous. I needn't have been. Aroma Venus is exactly the kind of glamorous, slippery, unapologetic exhibition Milly would have hung herself, and it left me beaming and slightly teary on Farringdon Road. If you have a free afternoon before 23 May 2026, just go.
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May 15, 2026Comments are off for this post.
David Zwirner London Review: Five Minimalist Masters 2026
Last updated: 15 May 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
Five names, one Mayfair townhouse, and a quietly precise group hang. This David Zwirner London review covers Flavin, Judd, McCracken, Ryman, Sandback, on view at 24 Grafton Street until 22 May 2026. Although the artists are familiar, the way David Zwirner has threaded them together is genuinely fresh. So if you've ever wondered what colour itself can do as a material, this is the show to see.
Cool Factor: 4/5
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May 3, 2026Comments are off for this post.
Katharina Grosse at White Cube Bermondsey Review
Last updated: 3 May 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
Cool Factor
★★★★★
5 out of 5 – Ice cold
Katharina Grosse at White Cube Bermondsey is, hand on heart, the most spectacular free exhibition currently on in London. I Set Out, I Walked Fast opened on 22 April 2026 and runs until 31 May, and it delivers something genuinely rare: a show that is immersive, generous, and varied enough that you walk back out onto Bermondsey Street feeling slightly rearranged. We visited this week, and we have a lot to say about it.
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April 30, 2026Comments are off for this post.
Ruba Nadar at Pipeline: ‘I Saw Myself Playing on The National Team’ Review
Last updated: 30 April 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
Cool Factor
★★★★☆
4 out of 5 – Stone cold
The best reason to climb several flights of stairs on a weekday afternoon is the possibility of a genuine discovery. Ruba Nadar's first solo exhibition at Pipeline Contemporary is exactly that. Running until 23 May 2026, I Saw Myself Playing on The National Team is a debut that announces an artist with real conviction, curated by someone who, show by show, is becoming one of the more interesting voices on London's emerging art scene.
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April 10, 2026Comments are off for this post.
Chiharu Shiota & Yin Xiuzhen Hayward Gallery Review 2026 – Worth It?
Last updated: 10 April 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
Our Chiharu Shiota Hayward review covers two concurrent exhibitions at the Hayward Gallery on London's Southbank: Threads of Life and Yin Xiuzhen's Heart to Heart. For £19 you get entry to both shows, and honestly, that felt like a steal. One of these exhibitions left us speechless. The other left us a little lukewarm. Together, they make for a genuinely memorable afternoon.
Cool Factor: Chiharu Shiota — 5/5 | Yin Xiuzhen — 3/5
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March 23, 2026Comments are off for this post.
Conceptual Art and Christine Kozlov at Raven Row Review
Last updated: 22 March 2026
By Tristan · Arts, exhibitions and creative culture
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
Cool Factor: 3/5
The Christine Kozlov Raven Row exhibition is a sprawling deep dive into the work and world of one of conceptual art's most overlooked figures. Housed in the gorgeous 18th-century rooms of Raven Row gallery in Spitalfields, Conceptual Art and Christine Kozlov brings together an expansive collection of Kozlov's output alongside works by her peers, including On Kawara, Lawrence Weiner, Joseph Kosuth, and Art & Language. It's free, it's ambitious, and it's open until 26 April 2026. But does it hold together as a show? Our honest verdict below.
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December 6, 2025Comments are off for this post.
Howard Hodgkin at Pitzhanger Manor Review: A Detailed Look at the London Exhibition
This is an opinion piece. Views expressed are the author's own and do not constitute professional advice.
This article contains affiliate or referral links. If you click through and sign up I may earn a commission or referral bonus at no extra cost to you. It does not affect my editorial view.
The Howard Hodgkin Pitzhanger review has already attracted significant interest from London art audiences, and it is clear why. This exhibition, set within the refined Georgian architecture of Pitzhanger Manor, offers a particularly clear reading of Hodgkin’s distinctive approach to colour, memory and emotional temperature. Rather than functioning simply as a showcase of major works, the show uses the character of the building itself to shape a more intimate encounter with Hodgkin’s practice.
Where large retrospectives often expand outward, this exhibition tightens the focus. Viewers move through a sequence of carefully paced rooms, each one revealing a different aspect of Hodgkin’s language of abstraction. The result is an exhibition that feels steady, well considered and quietly resonant.
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