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• The Kidstuff Complex: Nuremberg’s Playground Art Prize
• Erasure Speaks Louder Than Words
• Frida Kahlo Needs No Theory
• Jupiter Artland Goes National
• Time, the Edible and Artistry
• Shilpa Gupta Takes Over Milan
• The Architecture of Dreaming Buildings
• Venus, Saturn and Wet Paint
• Eight Women Return the Gaze 
• Shibari and New Forms of Cultural Expression 
• The Body Thinks in Colour
• The Photograph, Remade by Hand
• The Body: A Promise and a Threat
• What Euphoria Got Right About Being a Woman
• The Whispered Story of Ray Exworth
• Currin Paints a Lost Paradise
• Drawing Home From The Outside
• The Translucent Norma Jeane
• 16 Artists Hold the Light at KHG West Palm Beach
• Gut-Punched and Pulled Towards a Friend
• Art’s Great Rebel Turns 100 
• Craft as Crisis Response: Shenlu Liu
• Form Without Words: Sirvon Azarm’s Circle
• Light Made Visible: Victoria Orr Ewing’s Luminous Landscapes
• London’s Photography Fair Finds Its New Home 
• Capital, Myth and the Layered Canvas
• The Shifting Soil of Our Revolving World
• Photography That Refuses to Look Away
• Five Artists, One Beating Pulse
• Tjukurpa: Dreaming Bloodlines, Desert Storytelling Survives
• Matter Unbound: Tony Cragg Transforms Perception
• Love Unravelling: Art’s Turbulent Terrain 
• Bound Bodies: How Tianle Zhao Sculpts Female Experience 
• Post-Industrial Earth: Painting as Ecological Act
• Still Life: Photography Reclaims Rail Travel
• Art Confronts the Crisis of Disappearance
• Indigenous Voices Redefine World Photography in 2026
• Scotland’s New Art Generation Arrives
• Weiyi Chen: Labour, Land and Belonging
• The Collectors’ Table: An Evening with Georgina Adam / Trebuchet
• Drugdealer Live: LA Light in Gorgeous Songs
• miart 2026 Heads in a New Direction
• Angry? The Smiling Vitriol of Jake Chapman – Part Two
• Angry? The Smiling Vitriol of Jake Chapman – Part One
• Homecoming Tides: Art, Water and the Right to Return 
• Print Culture Still Thriving in Community Arts?
• London Art Fair 2026 and the Sculpted Mind 
• Cité internationale de arts- Engineering Cultural Evolution
• LUAP at the London Art Fair
• Sverre Malling Champions the Glowing Outsiders of History (Part Two)
• Ukrainian Children’s Art Heals Through Creativity
• Sverre Malling Champions the Glowing Outsiders of History (Part One)
• From Data to Empathy: Anning Song’s Research-Driven Art
• The External Domestic Worlds of Jonathan Lyndon Chase
• Shenlu Liu: Can Textiles Restore Our Lost Senses?
• Why Is Stroud Britain’s New Art Hub?
• Xinyi Liu: Does Death Give Meaning to Art?
• Xiaoping Yu: Art, Identity and Belonging
• Graham Harman Waves and Stones Review
• Why Does Stacey Gillian Abe Choose Indigo?
• Trebuchet 18: Foreign Objects / Out Now
• Emilija Škarnulyté at Tate St Ives
• Studio 55 to Open in Ibiza
• Oswaldo Maciá’s Multisensory Migratory Movements Exhibition
• Confronting Colonial Erasure at Goodwood Art Foundation 2025
• Roman Ondak Returns to Prague
• Trustee with Funding Experience Sought for Digswell Arts Trust
• Can Pour Painting Contain Meaning?
• The Mountain Goats ‘Through This Fire Across From Peter Balkan’ Review: A Bold Musical Experiment
• Kazakhstan: Close Encounters With Central Asian Culture, Contemporary Art And Post-Soviet Capitalism
• Secret Maps at the British Library: How Cartography Shaped Power, Protest and Survival
• Meet Millie Chen: London’s Emerging Artist Working with Found Objects 
• Fanglin Luo’s Performance Art Reclaims Feminist Mythology Through Ritual and Identity
• This Dark Shore: Mythic Realism in the Work of Marcus Rees Roberts 
• Frieze London 2025 Review: Community, Identity and Encounters Across Time
• Gilbert & George at Hayward Gallery: 21st Century Pictures Review
• Lloyd Choi Gallery and Schoeni Projects Challenge Eurocentrism at Asian Art in London 2025 
• Maria Kreyn’s Hyperobject: When Contemporary Painting Meets Sacred Architecture 
• Paul Sietsema at Marian Goodman Gallery Paris: Material Memory and the Weight of Objects 
• Wanting Wang: Art Photography at the Threshold of Order and Collapse
• Between Myth and Modernity: The Art Practice of Jingjing Xu
• Binta Diaw: Exploring Femininity and History Through Soil Art 
• Hypha Curates Launches Artist Sales Platform with Physical Exhibition Programme
• Gilbert & George: Reflections on Modernity 2025
• The Sublime Sculptures of Simon Tayler: Wooden Art for the Digital Age
• Folkestone Triennial 2025: Where Art Meets Community
• When Strangers Become Friends: Art’s Answer to Migration Debates
• Gallery of Everything, Ectoplasmix and Everyone
• David Weiss: The Dream of Casa Aprile Exhibition Opens at MASI Lugano 
• 30% Summer Sale on Trebuchet Back Issues
• São Paulo Biennial 2025: How Local Perspective Reshapes Global Art 
• Sara Enrico: Materiality and Contemporary Sculpture 
• Navigating the Darkness: Jamie Luoto’s Psychological Landscapes
• Why Battleship Potemkin’s Call to Arms Needs New Music
• Photography Without Borders
• David Lynch: Conjurer of Dreams
• Rewriting the Constitution: Chus Martínez on Art, Community, and Democratic Imagination
• Rankin: Embracing the Absurdity
• Vesna Petresin, 1971-2025 
• Juergen Teller Refactors Intimacy in Greek Retrospective
• Preston Art to Receive Massive Boost
• Berlin Art Week 2025: The Party Prepares 
• Can Messages From the Future Be Hauntological?
• This Georgian Townhouse Became London’s New Asian Art Destination
• The Last Years of Pablo Picasso
• Madre: Delcy Morelos’ Immersive Installation in Dialogue with Joseph Beuys
• Whither Nigerian Modernism?
• Why the Rule of Three?
• Can Art and Music Work Together?
• Lost and Found in Amsterdam
• Money, Fame and the Future: Tate Modern’s 25th
• What Does Rankin Think About AI?
• Dancing Queen: Barbarella Brings Italo-Disco Glamour to Canary Wharf
• Do Artists Dream of Electric Stars? 
• So Lonely? The Crowded Anomie of Edward Burra
• Frieze: Can it Still Deliver in 2025?
• Is It Possible to Reject Conformity?
• What’s He Building in There?
• The Artist as Modern Mystic: Chris Levine on Lasers, Pyramids, and Cosmic Alignment
• Light in the Darkness: Chantal Meza and Will Gompertz
• Can Ancient Sufi Wisdom and Contemporary Art Share the Same Frequency?
• Magical Forests Versus the Pull of Netflix: Rune Christensen
• Focus on the Future: How Photo London is Redefining Photography
• Can Artists Really Transform Space? Kaur And Sahib at Pitzhanger Manor
• Art Print: James Johnston, A Reckoning
• Fearless Friendship: Hambling & Lucas Unite For Landmark London Show
• Falsehood or Authenticity? Yang Fudong’s Ambiguous Truths
• Art Basel Recognises Nairy Baghramian and Delcy Morelos with Medals
• Can You Set New Visions Amongst The Masters?
• The Wear and Tear of Creation
• Painting the Love Lives of Paris and Basel
• Finding The Sweet Spot Between Alienation and Intimacy
• Fragments of Classicism
• Blum Gallery to Open Tribeca Space
• Found objects of the Universal
• Let Them Eat Art: Foodbank fundraiser
• Walter Spies: Tourism as Progress?
• The Incendiary Promise of Performance Art
• Are humans impossible? Pierre Huyghe
• Is art watching us watch ourselves?
• Is photography obsolete?
• Medieval Relics Display at the Green & Stone Gallery
• Trebuchet 17: Destinations / Out Now
• Greg Bromley: Out of the Shadow of Trauma
• Shadows of the Colour Black
• Trauma Realised and Exorcised: Greg Bromley’s Devil Visions
• Art Basel: Switzerland’s Most Anticipated Art Show for 2025
• Milan Art Week and miart: A city in harmony
• Reclaiming the Truth: Deconstructing colonial museums and public spaces
• Beyond suncream and selfies, Casson Mann bring Pacific island power to the halls of Bremen
• Folkestone Triennial 2025: The Dates, The Theme, The Curator, The Artists….
• A concise colloquium with Marilyn Arsem, Pt II
• ‘I have always been interested in how time operates’ — in conversation with Marilyn Arsem
• New exhibitions, much-loved works, and wild swimming: Spring 2025 at Jupiter Artland
• Dive into London’s contemporary art scene to uncover Diana Zrnic’s Hiding Place
• Teasing out the questions in the shadows: Ella Kruglyanskaya at Thomas Dane Gallery
• What can bats teach us about our AI overlords? Questions, questions, at arebyte Gallery
• Can images speak the words we struggle to voice? Chantal Meza’s Eden Bleeds
• Ken Turner: The Oldest Performance Artist In The World (probably) — Part III
• Timothy Taylor gallery brings Mexican colour to ARCOmadrid
• Ken Turner: The Oldest Performance Artist In The World (probably) — Part II
• Canvas, cobbles and canals: Amsterdam Art Week 2025
• Ken Turner: The Oldest Performance Artist In The World (probably)
• What waves banners of protest? The breeze or the breeze block?
• Can you feel a landscape’s rhythms? Tarek Atoui and the echo of improvisation
• Miart — International modern and contemporary art in Milan
• Where’s My Art Collection Money Going? Artscapy answers
• Esra Kizir Gokcen: Sail to Hope — reaching past the slogans to the humanity beyond
• Art Cairo announces artists for 2025
• Will all post-Zuckerberg irony be this wicked? Sorry about the mess
• Can you really paint a metaphor? Anselm Kiefer’s early works may have the answer
• Night rides through James Johnston’s Trebuchet print ‘The Passenger’
• Can art change tech (for the better)? Nxt Museum presents Still Processing
• Shaking off winter on York Street: Experimental film, multidisciplinary installations and snow globes
• Linea Naturalis — Has hippie woo-woo finally achieved therapeutic maturity?
• Two years of spectacle in the Italian Alps. Is this art set in a dream?
• Wanna buy art? Exclusive signed LUAP print only from Trebuchet
• Where are your stuffed animals?  Soup London’s ‘Welcome To The Island Of Misfit Toys’ Is A Masterclass In Childhood
• Where does Taylor Swift meet the mythic? Ask psychoanalyst Jamieson Webster
• The Oracle; Ljubljana Biennale announces high-concept theme for its summertime graphic arts extravaganza
• Is this where artists learn to launch and collectors seize their bitcoin moment? London Art Fair
• From grids to metal towers, the radical evolution of Phyllida Barlow’s rabbit ears
• Can a pink bear change its hue? LUAP paints portraits of the psyche
• Surreal interplanetary artist Jonathan Baldock set to bring queer historicity to Jupiter Artland 2025
• Acucar, Exuberance, Samba and Slate: Vanessa da Silva at Mostyn 2025
• Spirituality, Vibrancy, Light — Ann Tracy in Lucerne
• New Celia Paul Works at Victoria Miro Gallery
• Borrowed Light: Cerith Wyn Evans at Centre Pompidou, Metz
• The End of Ritual: María Berrío at Victoria Miro Gallery
• Shimabuku: Art with a twist of octopus and limes
• Art Profile: Dr Apinan Poshyananda
• The Tourist Mindset: Michael Schindhelm’s Roots
• There’s Pigment and there’s PIGMENT TOKYO
• Ancient to Contemporary: A Comprehensive View at Frieze 2024
• Trebuchet 16: Art & Psychology / Out Now
• Abe Odedina: Magical Realism Across Borders at the British Art Fair
• Chantal Akerman: Channelling Murderous Resentment
• Thought-Provoking Sound and Vision in a Celebration of Sufi Art (Paris)
• Marian Goodman Gallery Spreads Wings in New York
• Pointing the Finger: Daria Blum
• Established Names, Emerging Talent: Photoworks Weekender and Photo Fringe at Brighton
• Disinformation Presents ‘National Grid’ at the Farsight Collective
• New Life to Ancient Vistas: XNL Aperto Showcases Contemporary Italian Art
• Epiphany in Bermondsey: Patricia Dominguez
• As Above, So Below: R.I.P Germain At FACT Liverpool
• Haunting Beauty, Exuberant Imagery: WarholMania and the Lost Archive
• Footwork, Humour, and the Coolest Club Night in London
• From One Underground to Another: The Wolfboy of Rego Park
• Albumen Gallery to present at Unseen Amsterdam 2024
• Chantal Meza: The State of Disappearance, at University of Bath
• A Night in Provence — Une Chambre à Soi Group Exhibition at Château la Coste
• Michael Schindhelm opens ROOTS in Basel
• Psychedelic Search Histories —  Nokukhanya Langa and Bruce Nauman at Saatchi Yates 
• Is it time for Art-Pop with something to say? 
• Bringing Water to the Well — Frieze Announce 2024 Funds
• Colour, Sound, and Choreography — Jean Tinguely in Milan
• Vulnerability, Resistance, and Uncomfortable Questions — Tonia Nneji and Jamie Luoto, Berlin
• Hardcore in Excelsis — Mr Bungle in Manchester
• Biennale Gherdëina 9:Thinking Like a Mountain
• Mothers — Laura Langer at Ilenia
• Magnus Renfrew: Curating Tokyo Gendai
• Amsterdam Art Week: Contrast and Delight
• CAN Ibiza Art Fair: Cultural Heritage and Contemporary Art
• Bringing Radical Impermanence to the Institution: Megan Rooney at Kettle’s Yard
• Dance to the Rhythm of My Soul at Nairobi National Museum
• Actions and journeying with Jill Smith on the Outer Hebrides 
• On the Female Birthday Suit’s Autonomy from Perversion
• Nightingale Songdreaming — Sam Lee Brings the Wild to Hackney
• Reportage and Resistance from Ken to Khan: Shanti Panchal and the London Landscape
• A Legacy of Smiles—LUAP at Altonaer Balkon, Hamburg
• The Home and the Heart — Apart at Last
• Exhibition City: London Gallery Weekend
• The Art Assembly Presents Tokyo Gendai 2024
• Art Against Oblivion
• Painting the Fourth Wall — Miranda Donovan at Woolff Gallery
• Constructing Light
• The Unbearable Reward of Art: LUAP
• Cracking Aural Amnesia
• Destilacija [RMZ-24] Video Premiere
• Photo London at Somerset House 
• Moonlight Flitting Dreams: Veronica Smirnoff
• Life by Extension
• In the Eye of the Storm—The Race to Save Ukraine’s Art Treasures
• Transformative Voids
• Uncarved Block, Unbleached Silk: Meeting Point Project
• Surface Tension: Alienation is the New ‘Touch’
• At What Point Do We Begin to Feel?
• Structures and Disorder
• Art Through Time: Alon Zakiam Gallery
• The Manufacture of the Modern World
• A Crisis of Mortality: Georg Baselitz
• Art’s Dividing Line
• Chronos: Maria Kreyn
• Trebuchet Podcast 15 – Art and Ecology
• Beyond the Specific Object
• Objects of Desire: Annette Messager
• Souvenirs Sans Frontières
• News-Based Installations
• Venice Biennale 2024: Gail Olding
• A Confession of My Sins: Georg Baselitz
• Andres Serrano: Beyond The Pale
• Inversions of Nature: Giuseppe Penone
• Spectacle’s Grip
• The Time of the Book
• Dispossessing Art
• Digital Renaissance
• Installations as Theatre
• Art on a Postcard – War Child Auction
• Bids For Survival: Michael Schindhelm
• Shadow Ban: Illuminating Liminal Spaces
• Enchanted Visions
• Trebuchet 15: Installation Art / Out now
• Spiritual Truth and Female Bodies: Marck
• The Concrete Ethereal: Keiko Kimoto
• Embracing the Bold: Waran’s Fine Art
• Colony Room Scenes: Peter Clark
• The Light of James Johnston
• Set in Stone? The Future is Female
• An App for Art: Fair Art Fair
• Amass: Rune Christensen
• Playground Videos: Marck
• Family Ties: The Hudsons
• However We Saw The Same Star: Kim Jungman
• A Wearable Art: Eloise Holmes
• Hanging Offence: Jessica Phillimore
• Frescoes & Faces
• Amongst Wonder: Dürer to Warhol
• Reflecting Lakes and Spirit Vessels: Thomas Huber
• The London Jazz Festival Opens
• The Gift of Surprise in the Community
• Killer, Crime and Faith: Simon Bonney Interview
• Art & Ecology: Out Now
• Exhibited Histories of Erasure
• Spatial Views of Abstraction: Sinta Tantra
• Seismic Art: Visions of Science
• Epistrophies and Heads: Tony Bevan
• Deep Craft: Ecology and creation in folk-inspired art
• Cultural Ecology: Contemporary Art in Marrakech, IZZA
• Meta-Narrative Photography: Matt Saunders Interview
• Love, Longing and Desire: Fatima Ronquillo Interview
• Diversity and Richness: Frieze 2023
• Trebuchet Tips: Frieze Week
• Permeability and Reincarnation in Thao Nguyen Phan 
• Wisdom Totems: Lauren Baker
• Arrival in Baksi, Discovering Responsibility, Art and Vuslat’s Turkish Emanet
• Queer Blues
• Alva Noto’s Opulent Soundscapes
• Power Up! Radical Community in the Sustainable Service of Art. 
• Devil’s Teeth, No Repeat: The Book of Peter Murphy
• Rendering the Invisible Playful: Jo McGarry
• Jungstötter’s One Star
• Celestial Art: Gail Olding and Trina Bohan
• Urban Lineages in José Parlá
• D_ance for the Disappeared
• On The Question Of AI Imagery
• Technical Ecstasy: Aubrey Williams
• Trebuchet Talks x October Gallery: Ecology
• In Pictures: The Mars Volta
• In Pictures: Teri Gender Bender, Troxy, London
• I Don’t Care for Images: Charlie Schaffer
• Social Photography: Markéta Luskačová Interview
• Remote Freedom: Vuslat Sabanci’s Emanet
• Palermo Mon Amour: Fondazione Merz
• Trebuchet 13: Photography
• The Life in Portraits: Charlie Schaffer
• A Snap: Photo London 2023
• Chaos and Form: Angela Heisch
• Septuplet: How Art Can Nurture Radical Urban Immersion
• Inside: Intercorporeality of Art and Architecture
• Paintings of Healing and Dreaming
• Wheels of Time, Human Spaces: Gabriel Orozco
• Fragile: Tewodros Hagos
• Art Print: Peter Van Dyck
• The Human Menagerie: James Johnston
• Who Laughs Last: Killing Joke 100 club
• Carrying life: Motherhood and Water in Malawi
• Breaking down Hierarchy
• Do We Need a New Definition of Violence? Brad Evans on Art and Technology Pt 2
• EXCLUSIVE: Amon Tobin Premieres New Video
• Do We Need a New Definition of Violence? Brad Evans on Art and Technology
• Inside Out, the Pop Power of Siena Barnes?
• Tai Shani on Power, Story and Reality Pt. 2
• London Art Fair 2023: Preview
• Interdimensional Craft: Gerry Rafferty and Ásgeir 
• Tai Shani on Power, Story and Reality
• Trebuchet Art Print: Chantal Meza
• Tumults of Aquamarine: Lulu Bennett
• History Discovered: Robert Bowman
• The Audience and the Work: Joël Andrianomearisoa
• Colonialism, Audience and Art’s Ability to Teach
• Make Better Music 82 : Online Piano Lessons
• Gavin Turk’s Reimagining of Richter
• Trebuchet 12: Realities Mitch Griffiths Cover
• Realist Modes of Process
• Frieze 2022
• Image Junkies
• Tony Cragg’s Incidents
• James Turrell and Lalique Collaboration in Crystal Light
• Me, My Brain and I: Charity Auction
• Tavares Strachan In Total Darkness
• If Only These Walls Could Talk: Maryam Eisler
• Nick Cave Signs East: Live Review APE
• Majesty: A Tribute to the Queen
• Walking into Modernity
• Geometry, Dreams and Parables: Nazir Tanbouli
• Art is like a Love Affair: Tina Grønning
• Alternative Possibilities: Céline Condorelli
• The Vision of Enter Art 2022 by Kirsten Eggers
• Child in Time: Sculptor Emily Young
• Tranquil Voyage
• The Concrete Uncanny: Jeff Muhs, Part two
• The Concrete Uncanny: Jeff Muhs
• Routes of Life, Ghosts of History
• A Simple Feast: Kristof Santy
• Forever Changed: Various Giant Artists
• Black Sabbath Rest: Heavy Metal’s Creation Myth
• A Direct Encounter: Coco Capitán
• From Here to Where? Michael Kagan
• A Space We Share: An Interview with Nico Marzano
• The Discipline of Inspiration: An Interview with Samuel Andreyev. Part Two
• Iron & Light: Bob Dylan
• The Discipline of Inspiration: An Interview with Samuel Andreyev
• The Risks of Abstraction: Orlanda Broom
• Talbot Rice Gallery announces After Work with Céline Condorelli
• The Optics and Shine of Chris Levine Pt 2
• The Optics and Shine of Chris Levine
• Safety in Michael Rumsby’s Nature
• The Unquenchable Fire of Killing Joke 
• Blood on the Tracks: Bob Dylan
• Conceptual Art and the Danceful Process of Dialogue: Paul Sietsema Pt 2
• A Band Beyond Definition: Billy Strings
• A Conversation Between Body & Object: Lee Ufan
• Cultural Messengers: Midnight Oil Keep Burning
• Conceptual Art and the Danceful Process of Dialogue: Paul Sietsema Pt 1
• Hope and Myth in Mitch Griffiths’ Immortal
• Ghost Like Traces: Between the Ephemeral & the Permanent
• The Knight Divided, Nature Interrupted
• Music from Weird Masses: Jarboe
• The Being Beyond Feeling: Peter Van Dyck Pt 2
• The Being Beyond Feeling: Peter Van Dyck Pt 1
• Faces of Consequence: Tae Kim Pt 2
• History and Appropriation: Oh Myung Hee
• New Folk for Old Tunes: Richard Thompson
• undo undo undo: Vivien Zhang
• Fire and Guitars: The Undertones
• Faces of Consequence: Tae Kim Pt 1
• People, History, Paint: The Rise of Gisela McDaniel Pt 2
• Sunphase: Aubrey Williams
• People, History, Paint: The Rise of Gisela McDaniel Pt 1
• The Crossroad Blues and High Vantages of Oli Kellett Pt 2
• Ploughing Landscapes: Rachel Rose
• The Crossroad Blues and High Vantages of Oli Kellett Pt 1
• Nothing About Us, Without Us: Active Bodies at the ICA
• What is Sculpture? Nairy Baghramian
• Cinematic Horror’s Punk Revival: Bunuel
• Inside Our Nostalgia: Eleanor May Watson
• Everything is in the Artist’s Favour: Danny Casale
• Trebuchet 11: Cover Artist Nairy Baghramian
• The Empowered Salon of the Queer
• Faces & Fame: Anton Corbijn
• The Politics of Genre: Shahzia Sikander
• The Serenely Uncanny Sound of Destruction: Foster Neville
• The Beauty of Packaging
• Hard Fast Love: Gail Olding
• Memories of a Warrior: Chaz Guest
• Curatorial Frequencies: Jade Foster
• The Wind, Bells, Falls of Lee and Bertucci 
• Kings Never Die: Christian Boltanski’s Esprit
• Bengi Ünsal Named as New Director of the ICA London
• Hark the Nordic Sirens of Hypnotic Cinema
• “Nothing is Pure”: Jock McFadyen
• Water & Working-Class Women: Jill McKnight at VITRINE
• Poetry in the Precision: Jordan Ann Craig
• The Estorick Collection Announces Bice Lazzari Exhibition
• Cinematic Drawings: Marie Harnett
• Primordial Whispers at Arusha Gallery
• Creative Contemplation: The Feelings Library
• Dreaming in Northern Cheyenne: Jordan Ann Craig
• Chanting Guitars and Dusk Distortions: Bossk
• Bulk & Absence: Daniel Crews-Chubb
• Velvet Layers of Sound: DVNE
• Thaddaeus Ropac Presents Solo Exhibition by Rachel Jones
• Street Art or Collectible Commodity?
• Sour-Puss and their ‘Strange Journey’
• 19.20.21: Kaoli Mashio at CASSIUS&Co
• Expanding Art Narratives: Jumoke Sanwo
• Creativity Takes Courage: Eugene Ankomah
• Jungle Rapture: Peppi Bottrop at Pilar Corrias
• Walking Jazz in Soho
• Black Sabbath Hate Witches
• The Perfumus Affair: Art Inspired by Fragrance?
• Art Objects: Martha Freud
• Means of Escape: Sarah Morris at White Cube
• Celestial Light: Mark Batty
• Painting New Perspectives: Joy Labinjo
• Standing on the Threshold
• Subversive Women: Prudence Flint
• Dark Ecology and Eremozoic Visions: Jim Naughten
• Kraftwerk Berlin Announces Robert Irwin Installation
• Cross My Heart: Franko B
• Victoria Miro to Open Solo Show by Paula Rego
• Art, Activism & Architecture: Sofia Karim
• Houghton Hall Opens Solo Show by Chris Levine
• Loitered Lens: Ferocious Dog
• Frieze 2021: The Return!
• Boobs, Boy Bands & Tentacles: Frieze London 2021
• The Duality of Cloth: Crystal Fischetti
• Beyond the Physical: Imogen Allen
• Windows: The Artist Room’s Inaugural Exhibition
• Picasso or Pepe: Wanna buy an NFT?
• Blowtorching Peaches Creating Chaos: Heather Phillipson
• Eat It Now: The New Immaterialism
• ‘You Are Here’ at Pippy Houldsworth Gallery: Wangari Mathenge
• Brotherly Hate: The Dread Archetypes of Kane & Able
• Life is a Performance: Cassils
• Spray Paint with Sickboy
• Signature African Art Presents Solo Exhibition by Giggs Kgole
• Painterly Romance: Amy Beager
• Freakscene: The Story of Dinosaur Jnr
• Value in Context: Art in the Public Realm
• Rewriting the Canon: Christiana Ine-Kimba Boyle
• The Hopefulness of Colour: Annie Morris
• The Shape, Sound and Feeling of Words: Ed Ruscha
• Simone Leigh at Hauser & Wirth, Zurich
• Marina Abramović Opens Two Shows in London
• A Bright Chapel: Mark Hinchliffe
• Taking the Exclusivity Out of Art: Thorp Stavri
• Nick Cave and Warren Ellis’ Gospel Carnage
• Flash Nails and Glamour: SYRETT
• The Power of (In)visible Community
• Michael Werner Gallery to Present New Paintings by Florian Krewer
• (Text)ural Works and Abstraction at Enter Art Fair
• The Suitability of Neon: Cerith Wyn Evans Interview
• Abstract Beauty: Ellen Carey
• Grove Square Galleries Presents Debut Exhibition by Elena Gual
• Courting the Forest of History
• The Weight of Canon
• Ed Atkins: “A Weird Faking of Imminence”
• Intimate, Wild, Raw: Karla Black at Fruitmarket Gallery
• Celebrity as Material
• Modern Mythology: Sofia Mitsola at Pilar Corrias
• Alberta Whittle: “I Felt the World Unravelling”
• LAMB Gallery Exhibition to Explore our Relationship to Objects
• Lisson Gallery to Exhibit Rare Paintings by Anish Kapoor
• Repetition is Endlessly Renewing: Edmund de Waal
• Upset in Stone: Barbara Segal
• The Performer and Audience Create the Work Together: Marina Abramović
• Unstructured, different, wild: Art collecting Martin Nielsen
• Barbara Kruger’s “Anti-Retrospective” at Art Institute of Chicago
• Grove Collective Launches Solo Exhibition by Manuela Karin Knaut
• Rebellious Joy: Huntley Muir
• The Photographic Night: Sarah Jones
• Revolving Around Art: Claus Busch Risvig
• The Small Infinite
• Whipping Water: Anne Imhof vs. Hate for Hate’s Sake
• Portraits of the World: Bruce Atherton
• Channel Switching: Dara Birnbaum
• Bomb Factory Opens Solo Exhibition by Ken Nwadiogbu
• Meet the Anonymous Street Artist Jerkface
• Timothy Taylor Gallery Presents its Annual Group Exhibition “IRL (In Real Life)”
• Shannon Cartier Lucy: Sensual Imagery
• New Museum Announces its Summer Programme
• Fluid Creativity: An Interview with Tesfaye Urgessa
• Special Interest: New Orleans Noir
• Hauser & Wirth Menorca to Open with Exhibition by Mark Bradford
• Traversing Time: An Interview with Sutapa Biswas
• Rethinking Nostalgia: An Interview with Paulina Olowska
• Art for Life’s Sake: A Retrospective of Pioneering Feminist Artist Hannah Wilke
• Intersectional Accessible Forever Alive: Keith Haring
• The Contemporary Art Society Opens a Pop-Up Shop in Mayfair, London
• Musical Adventures for an Opening 2021.
• Directing Enter Art Fair
• Material Transformation: An Interview with Holly Hendry
• Bridget Riley: Past into Present
• Tahnee Lonsdale: Painting Vulnerability
• Neunau: Sound Art from Ancient to Modern
• Rafael Pérez Evans: Perishable Art
• Platform: A Digital Marketplace by David Zwirner
• Wabi-sabi: The Beauty of Imperfection at Kristin Hjellegjerde Gallery
• A Year of Georg Baselitz Exhibitions
• Concrete Art 2: Number As Material
• Slithering Through Self-Discovery with Leon Vynehall
• Henry Taylor at Hauser & Wirth, Somerset
• Ryoji Ikeda Exhibition to Open at 180 Studios, London
• Concrete Art 1: Colour As Material
• Trebuchet Podcast 14 – Surrealism with Benji Reid
• White Cube Presents Julie Curtiss’ First London Exhibition
• Hardeep Sahota: Illuminating the Art of Dance
• Cultured and Combined: Gilbert & George on Identity
• Rachel Whiteread: Symbolism & Storytelling
• Linear Expression: George Condo at Sprüth Magers, Berlin
• Reflections, Refractions and Perspectives through Dylan Martinez
• Monkey Business: Luc Tuymans at David Zwirner
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• IN-FLO-RES-CENCE: Music as an Art Object
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• Interviews on the Influence of Sol LeWitt
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• Richard Saltoun Gallery Launches Hannah Arendt Programme
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• Tate Modern screens Shirin Neshat’s 1999 film ‘Soliloquy’
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• Larry Achiampong: Relics of Time
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• Trebuchet Podcast 13 – Surrealism with Barry Adamson
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• British Library Acquires Unique 15th Century Lucas Psalter Manuscript
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• Major Eileen Agar Survey Announced for February 2021
• Shot To Fame: Remembering Terry O’Neill
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• New Online Play by London Poet Draws on the Life of Basquiat
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• ARTCRY Launches to Support Urgent Artistic Responses
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• Trebuchet Podcast 8 – Time & Space w/ Malcolm Fairbairn
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• Trebuchet Podcast 5 – Acclaim in Underground Comics
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• In Bright Axiom: The House of the Latitude
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• Arebyte Gallery Announce Browser Plug-In Exhibition
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• UK’s Specialist Arts TV Channel Saved From the Chop
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• Sixth Hong Kong Human Rights Arts Prize Awarded to Kam Wa Magus Yuen
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