When Portland-based artist Brett Stenson was studying illustration in college, he hung out with a few industrial designers with whom he pored over how things were made.

Caravaggio’s masterpiece, which has never before been seen in public in the UK, will go on display for free at London’s Wallace Collection, from late November.

Today, Frieze revealed details of Frieze Sculpture 2025, the 13th edition of the much-celebrated free public art initiative in London’s Regent’s Park.

This volume positions Josefa de Óbidos as part of a broader legacy of early modern women artists.

Following pressure to remove her portrait of a transgender woman, in fear of provoking President Trump.

The artist said the National Portrait Gallery was considering removing the painting after Trump issued anti-trans mandates for federally funded museums.

The cover of a new book draws you in for Kahlo, but you will stay for Mary Reynolds, the innovative bookbinder and partner of Marcel Duchamp.

The weekly feature rounds up the latest updates in museum appointments, openings, funding and new exhibitions from across the UK.

One of the foremost contemporary artists emerging from the Amazonian basin, Flores belongs to the Shipibo, an Indigenous people part of the Shipibo-Konibo (also known as Shipibo-Conibo) nation, who live along the Ucayali River in Peru.

Spike Island presents the first major survey exhibition of Guyanese British artist Donald Locke (1930–2010).

In a single decade known as the Golden Twenties artist Marta Astfalck-Vietz (1901–1994) authored an iridescent opus of self-enactments, nude and dance photography and experimental images.

Gestural Poethics presents recent works by the London-born artist, poet, and writer Rhea Dillon (b. 1996).

Since the 70s Senga Nengudi (Chicago, 1943) and Maren Hassinger (Los Angeles, 1947) have collaborated creating a rich corpus of work, spanning from installations, performances, video, texts, and sculptures.

The Museum of Modern Art is pleased to announce “Projects: Ufuoma Essi”, which will highlight the artist’s distinctive approach to film as a medium for historical exploration and cultural memory.

My text is a tentative attempt to trace the possibility of an encounter with Andria Dolidze’s work—to create a conversation between his images and my words.