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.

The collection is not widely recognized as a trove of ancient art and artifacts, but hosts a rich collection with an occasionally troubled history.

The Dorotheum auction house will sell the Baroque painter's "Lucretia," heavily advertising the artists traumatic past as a 17th-century woman.

Michaelina Wautier's artistic talent was on par with that of her famous male contemporaries, like Rubens and Van Dyck. The first-ever retrospective of her work offers long overdue recognition.

Christo's giant floating sculpture, "The London Mastaba," sits on the Serpentine Lake in Hyde Park as tourists on paddle boats circle around.

In May, a Cologne auction house sold a painting that is believed to be by one of the foremost female painters of the 17th century.

Rodin's work is currently on display at the British Museum, with a number of photographs and sculptures included in the exhibition, the main draw being the Parthenon marbles.

Former Spice Girl Victoria Beckham's London shop is hosting an art display of paintings from Sotheby's Old Master sale.

Published after her death, this succinct volume draws important art historical connections pointing to longstanding struggles with depictions of misery.

At best, All Too Human shows well known artists at an intriguing new angle and revisits lesser known names, but at worst makes some perplexing curatorial choices which defy its own set of rules, stretching relevance through some optimistic inclusions.

A show at the Tate Modern in London hones in on the artist’s diaristic relationship to his own work

The latest fourth plinth commission is a full-scale recreation of a winged bull sculpture from 700 BCE entirely clad in Iraqi date cans.

Underpinning this exhibition of work from the collection of the executed king is a focused arrangement that allows the political events of the time to be told through the narrative of the collection’s history.