Electric Dreams at Tate Modern shows the sheer extent to which human imagination and inventiveness harnessed technological progressions in the infancy of computing.

A new book spills the tea on the 20th-century London art scene.

A new show at London’s Freud Museum throws feminist ideas at the wall to see what sticks.

Co-curated by Jeremy Deller and John Costi, No Comment is an exhibition of artworks created in criminal justice settings, entries to the 2024 annual Koestler award. 

The volume of problematic artifacts Locke uncovered in the British Museum’s archives illustrates the fundamental importance of objective historical research.

A London show examines the concept of beauty and its inevitable decay across pan-historical, pan-geographical, and pan-religious examples.

If it had simply suggested that François Boucher and Flora Yukhnovich are united in creating tasteful house decoration for the rich, the exhibition would be a success. 

Van Gogh: Poets & Lovers boasts some curatorial firsts and delights in the artist’s explosion of experimental color and expressive, urgent feeling.

The core message of visual analysis and close looking in Hockney and Piero: A Longer Look is an apt mantra for the National Gallery's history.

What’s clear in Now You See Us is that the artists were excluded from the canon because of sociopolitical factors, not artistic merit.

Six Lives seeks to fill in the queens’ backstories and present them as individuals rather than supporting players to the King.

Though technically proficient, the painter and Royal Academy cofounder owed a great deal of contemporary recognition to her active social networking.

The Time is Always Now emphasizes the continuing importance of Black identity, visibility, and recognition in predominantly White society. 

The academic rigor of Entangled Pasts is counterbalanced by the poignant responses by contemporary artists and some astonishingly inspired curating.

Women in Revolt! is essential viewing for those keen to understand the evolution of British feminism from the 1970s to 1990s.

Twenty years after creating his pastel “Lavergne Family Breakfast,” Jean-Etienne Liotard recreated it in oil, and it is astonishing to see how close the two versions are. 

Rubens & Women argues that, far from objectifying his models, the artist depicted a nuanced female body.

Capturing the Moment pairs works from the private YAGEO Foundation with those from Tate Modern for a show with no named curators or patent purpose.

He contributed to his own obscurity by portraying his sitters and characters with humor and smiles, rather than aloof nobility.

An anarchic desire to undermine the art world’s institutions lends art forgers a roguish, rebellious identity that is both compelling and unsavory.

Today’s audiences are evidently more open to Mondrian and af Klint’s sensibilities than those of their time.

A little like dogs themselves, Portraits of Dogs at the Wallace Collection is a complimentary companion piece to the human story.

A new exhibition at London’s Courtauld Gallery pits Doig against artists like Cézanne, Gauguin, and Van Gogh. Does it work?

Action, Gesture, Paint is a pointed challenge to the common definition of Abstract Expressionism: White, male, American artists.

While acknowledging the horrors of colonialism, Spain and the Hispanic World also highlights the exchange of traditions and ideas.

Strange Clay at the Hayward Gallery demonstrates the conceptual and technical innovation of contemporary ceramics with riotously joyful art.

Fuseli and the Modern Woman is immensely pleasurable for the technical facility of an artist pursuing his own personal interests in an incredibly idiosyncratic style.

The exhibition Fashioning Masculinities lets men have their cake and eat it too.

So closely do Disney's animators assimilate the sensibility of French design that on occasion their source material appears almost more Disney than Disney itself.

In Space Popular's presentation at the Sir John Soane's Museum the VR content does not complement the physical, but widens the gulf between art history and contemporary art making.

A Thing for the Mind takes Philip Guston’s 1978 painting “Story” as a starting point to examine the myriad ways in which this piece has filtered into the work of other painters.

An exhibition at the Barbican in London asks: How do you make sense of war's senseless destruction and loss of human life?

Depicting the busts of Gabriel and the Virgin, “The Annunciation” (1677) may be the ultimate lost artwork, or "sleeper."

Ikon Gallery's retrospective asserts that Carlo Crivelli’s self-reflexiveness and questioning the nature of the image made him anticipate the “contemporary.”

Popular perceptions of van Gogh are often preoccupied with heart-wrenching accounts of mental illness, but Van Gogh: Self Portraits avoids speculative psychoanalytic readings of one tortured face after another.

To play devil’s advocate, you could argue that eventually technology will be so good that everyone will have VR, and there is no need to travel to the National Gallery at all to see art.

Why assemble the most significant grouping of Hogarths from far and wide without indicating why calling out the faults in historical artworks is important to our understanding of our world today?

Sheila Barker’s account reveals an undeniably strong character and confidence distinct from, or perhaps in conjunction with, her practical survival needs.

By recording unusual sights encountered throughout his travels and disseminating these via workshop practices, it’s understandable why Dürer is so prominent in art history.

So legendarily precious and complex are the Fabergé eggs that they have become a byword for insane expenditure.

Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.

We owe this rare opportunity to visit the Royal Collection to the temporary closure of the Picture Gallery, where the artworks usually hang.

Despite the British Museum’s active participation in work towards restitution, the current display and captioning fail to be forthright or responsible.

Abramović’s interests lie more with perpetuating herself as a product than with what she actually expresses through her art.

Seeing how impressive and successful Gentileschi was in her lifetime, it is staggering that it has taken a show such as this to dispel her unfair dismissal by art history.

The political, dynastic, and religious machinations of this era should have provided ample material for a meaty exploration of the relationship between art and power.

A show at Vienna’s Albertina reverses the more commonly held belief in art history that drawings are merely preparatory to paintings.

A recently discovered work by a long-overlooked Baroque painter didn't attract the interest that Christie’s prestigious Old Masters auction seemed to expect.

The UK’s first show of the famously gruesome seventeenth century Spanish painter places his monumental works in historical context.

Frieze Masters, where art from before the 20th century is for sale, raises questions about the sociopolitical role of art fairs and what small galleries gain by participating.