Top 10 art exhibitions in London (updated for 2025)

Jean-Francois Millet was an artist of the people. Born to a farming family, he spent his life painting rural workers and the conditions of their labour. This exhibition, marking the 150th anniversary of his death, presents an impressive array of his work, which went on to inspire Vincent van Gogh among other artists. Heads down and backs bent, there is a melancholic, weathered beauty to Millet’s characters.

Why go: Millet’s images of peasants at work are rhythmic and visceral, unsentimental but deeply sensitive in their depictions of the beauty and harshness of a life working the land.

The Anmatyerr artist Emily Kam Kngwarray only took up painting during the last decade of her life. Making up for lost time, she produced thousands of paintings in the years leading up to her death in 1996. She worked frenetically, changing her style multiple times.

Why go: The show presents museum goers with an alternative way of looking at art itself. This, the artist’s first major European solo exhibition, is an impressive introduction to a singular talent.

In the first of a three-part exhibition, the tall, wiry works of Alberto Giacometti stand beside the hybrid, fragmented figures of Pakistani-American sculptor Huma Bhabha. Where Giacometti’s figures are stretched and attenuated, expressing solitude and existential suffering, Bhabha fractures the human form more explicitly, tearing it apart.

Why go: Though separated by decades, these artists share a profound interest in the aftermath of war and the psychological scars left behind. For them, fragility is more than physical material – it is a lens through which the human condition itself is explored.

In his first major UK institutional exhibition, the Ontario-based Omaskêko Ininiwak Duane Linklater’s work interrogates some of the ideas and practices that define western institutions. Incorporating objects made by his grandmother into an installation and showcasing a video shot by his son, he challenges our idea of singular authorship – which is just one of the ways in which he subtly but convincingly invites us to reconsider how our museums work.

Why go: Linklater playfully questions the idea of singular authorship that underpins the art world and, in many ways, defines our understanding of culture. His name might top the press release, but it’s not his show.

This major exhibition showcases three decades of work by South Korean conceptual artist Do Ho Suh, reflecting on themes of memory and migration via vast fabric sculptures and meticulous architectural installations. In an age defined by global migration and shifting borders, Suh views the home as a charged space: at once personal and political, defining a threshold between private and public, past and present.

Why go: Suh’s intricately rendered fabric and paper reconstructions of the houses he’s inhabited go beyond architectural replication: they chart emotion, displacement and adaptation, and they do so beautifully.

Born in London in 1905, the British artist Edward Burra suffered from acute rheumatoid arthritis and pernicious anemia from a young age. He travelled regularly, with a special fondness for Paris and New York. In photographs, though, he appears dour, studious and sickly. Most of the paintings that line the walls of his latest retrospective at the Tate couldn’t be further from this image.

Why go: In their curvaceousness and volume, Burra’s subjects convey a playful sense of abundance that borders on kitsch. In today’s context, where distorted figuration is the order of the day, it’s a style that feels a little hackneyed. Remembering that these paintings are close to a century old makes them feel incredibly fresh.

Since 2021, the Cosmic House – the fascinating former home of revered postmodernist landscape architect Charles Jencks – has operated as a museum. Each year, the Jencks Foundation commissions an artist to respond to the surroundings. This time round, it’s a video work by Lithuanian-born musician Lina Lapelytė, composed of 12 screens dotted around the house to be hunted down like a game of hide and seek. 

Why go: Beautiful and peculiar, this is immersive art as it should be. It’s also a chance to see some jaw-droppingly gorgeous interiors.

It’s hard to know if Italian Renaissance master Andrea Mantegna was issuing a doom-laden warning or just a doe-eyed love letter to history. Because written into the nine sprawling canvases of his ‘Triumphs of Caesar’ (six of which are on show here while their gallery in Hampton Court Palace is being renovated) is all the glory and power of Ancient Rome, but its eventual collapse too.

Why go: Peer into the peak of empire, of grandeur and riches and dominance and avarice and cruelty and subjugation, before an inevitable fall.