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Tracey Emin: A Second Life at Tate Modern brought together four decades of work shaped by autobiography, the body, trauma and survival. From My Bed to recent paintings and bronzes, the retrospective revealed how Emin’s confessional practice has evolved into a meditation on mortality, memory and renewal.

White Cube Bermondsey presents Gabriel Orozco: Chronotopic, bringing together more than 100 works across sculpture, painting, photography and works on paper in a major survey spanning three decades.

A new Audience Agency report argues that Britain’s cultural sector needs a coordinated approach to artificial intelligence, with museums, galleries and heritage organisations sharing knowledge rather than experimenting in isolation. Based on practical case studies from 16 institutions, Let’s Get Real: AI recommends people-centred processes, flexible guardrails, small-scale experimentation, stronger data practices and sector-wide collaboration.

Ina Sarikhani Weston’s appointment as Chair of the National Portrait Gallery highlights the growing importance of philanthropy, private collecting and trustee networks in the governance of Britain’s national museums. Her tenure is expected to emphasise continuity, collaboration and institutional stability as the Gallery navigates a challenging arts-funding environment.

Tate Britain’s The 90s: Art and Fashion brings together more than 100 works by nearly 70 artists, photographers and designers to examine how art, fashion, photography and club culture collided in 1990s Britain. Guest curated by Edward Enninful OBE, the exhibition explores identity, class, race and the AIDS crisis while challenging traditional divisions between fashion and fine art.

Hurvin Anderson’s Tate Britain survey explored how landscape can carry histories of migration, memory and belonging. Moving between Birmingham, Handsworth and the Caribbean, Anderson expanded the idea of British landscape beyond the rural canon, using parks, interiors and suburban spaces to examine distance, access and cultural identity.

David Hockney’s final London exhibition at Serpentine North closed on 23 August 2026, acquiring unexpected poignancy following the artist’s death in June. Centred on the monumental 90-metre A Year in Normandie, created from around 100 iPad drawings, the exhibition reflected Hockney’s enduring fascination with landscape, seasonal change and the act of looking. What began as a presentation of new work ultimately became a final reminder of one of the artist’s central convictions

Bebe Cave’s Swoon brings the Pre-Raphaelite Brotherhood into the world of character comedy, using Elizabeth Siddal and the mythology of the muse to explore visibility, beauty and the male gaze. Running at Pleasance Dome during the Edinburgh Festival Fringe, the production combines art history, satire and physical comedy to reconsider the women behind some of Victorian Britain’s most familiar images.

Berlin Art Week celebrates its fifteenth anniversary from 9 to 13 September 2026 with exhibitions, performances, screenings and special projects across the city. More than 100 museums, galleries, foundations and independent spaces will take part, with highlights including presentations dedicated to Ryuichi Sakamoto, Maurizio Cattelan and Kira Freije.

Once known for black-and-white images of twentieth-century France, Lartigue is reframed at MK Gallery through Life in Colour, over 150 rarely seen color photographs. June 20 to October 4, 2026.

The Frank Bowling Foundation launches in London this June, formalising the acclaimed British artist’s long-standing commitment to arts education and cultural access. Supported by a major gift of artworks and archival materials, the foundation will develop scholarships, outreach programmes and creative partnerships. Its inaugural initiative, Frank Bowling: Driven to Draw, opens at the Royal Drawing School on June 25.

Asia, The Apparatus Venue: National Asian Culture Center (ACC) Location: Gwangju, South Korea Marking the ACC's tenth anniversary, this show gathers a decade of experimental film and video collected from across Asia. It reads "apparatus" two ways: the camera and projector, and the institutions that capture, cut, and reorder memory. Through three stages, Dictation, Representation, Rewriting, it brings the region's many histories and silenced voices back into view.