Press

"Review praises the range and emotional force of Rego’s drawings, studies and late self-portrait, noting political and personal intensity."

"Review finds the iPad paintings underwhelming but cheerful, emphasising Hockney’s continued curiosity and productivity."

"Mixed review: the 90-metre iPad frieze is ambitious but less convincing in the gallery than on screen."

"Review admires Stubbs but criticises the display as too small for an artist of such radical intelligence."

"Sceptical review arguing the show depends heavily on the viewer’s investment in Emin’s confessional persona and self-exposure."

"Review says Wes Anderson fans will relish the detailed archival presentation, though it offers limited critical distance."

"Positive review calling it a rich look at a post-colonial art explosion, while noting that the show’s breadth can overwhelm."

"Guardian week-in-art listing highlights Grosse’s sprawling technicolor installations and paintings; recommendation rather than full review."

"Positive review emphasising spiritual and theatrical intensity."

"The Times praises the exhibition as sumptuous, strange and masterfully curated."

"More mixed review describing the show as demanding and severe, though lifted by stunning still lifes."

"Strongly positive review praising mystical realism and painterly drama."

"Guardian week-in-art listing recommends the show as a return by the master of giant, building-sized paintings."

"Review describes Brown’s first major UK institutional show as immersive, layered and built around abstraction, figuration and memory."

"FT profile/review-style article frames Picture Making as a major homecoming for Brown and an evolution of her expressive painting."

"Telegraph review notes a cool, introspective quality in Anderson’s paintings and feelings of estrangement."

"The Times praises Anderson’s Barbershop paintings as unmissable but describes the retrospective as uneven and sparsely installed."

"Guardian interview/preview covers Brown ahead of Picture Making; included as review-adjacent press, not a scored review."

"FT is positive, describing the seasonal frieze as a thrilling hymn to the seasons."

"The Times calls the show immersive and emotionally intensifying, possibly a late-career swansong."

"The Times argues Stubbs was no one-trick pony, highlighting anatomical and psychological command."

"FT review presents the show as powerful but questions the limits of Emin’s confessional mode."

"FT praises González’s coded political art and anti-authoritarian visual language."

"Emotional review focused on vulnerability and autobiographical intensity."

"Mixed review praising My Bed but criticising the wider retrospective."

"Review praises the retrospective’s political power and emotional force."

"The Week rounds up critical reaction, calling the show a quirkfest that celebrates Anderson’s impeccable craft."

"Guardian Weekly review describes the show as an archive-rich presentation of Anderson’s film world, with props, costumes, models and puppets."

"Feature/review-style article on Wright’s candlelit scenes, Enlightenment subjects and moral drama."

"FT describes the show as one of Tate Modern’s most revelatory recent exhibitions."

"Review calls the exhibition ambitious and historically rich."

"The Times calls the exhibition a rich, fascinating whirlwind and a thoughtful primer on Nigerian artists from the 1920s to the 1990s."