Each year, we ask our contributors to share their highlights—here’s what caught their eye in 2024:

Nkgopoleng Moloi

Favourite group show of the year: ‘They Came and Left Footprints’, a two-person show featuring Lucas Sithole and Cyprian Shilakoe at Norval Foundation. I’ve seen Shilakoe’s work before, but those etchings alongside Sithole’s vertical sculptures of animals and the mother-and-child forms, brought me a kind of joy that’s rare to find when viewing works of art these days. Shilakoe reminded me that printmaking is deeply underrated —something about the intimacy and closeness this medium achieves resonates with me. 

Favourite solo show of the year: This isn’t a traditional show but rather an online salon – White Cube’s presentation of Alma Thomas’ work. Images of Thomas in her flower garden and her living room, filled with books and scattered documents, lend depth to her paintings. Thomas’ works, scaffolded through bold colour as well as rhythmic and  precise composition evoke her philosophy that “Color is life, and light is the mother of color.”

I also enjoyed Asemahle Ntlonti ‘Inzonzobila’ at blank earlier this year, where she delved into a tableau of personal and collective memory through thick layering of paint, creating bold renderings of landscape through a very muted palette. Asemahle has an incredible ability to distil ideas to their essence, and this show truly embodied that for me. 

Favourite artist of the year:  I fell in love with Seyni Awa Camara all over again—the more time I spend with her weirdly sculpted children, the more I believe in magic. While reflecting on Camara’s work, I came across Grace Salome Kwami (Atta Kwami’s mother) and her sculpted heads, which I am completely in love with. Head of Small Boy and Two Heads (Boy and Girl) are two clay sculptures that captured my imagination. I also think about Philip Guston a lot. I haven’t figured out what about his rosy-hued world I find compelling.

Favourite artwork of the year: Grace Salome Kwami, Two Heads (Boy and Girl), 1995.

Favourite space: POOL (while they were stationed at Green Point Park earlier this year) achieved some incredible projects. Beyond staging thought-provoking and interesting exhibitions, every opening and event had a real sense of warmth. I think Amy Watson is to be commended for her ability to hold space 🙂 

Favourite publication: I am excited about the kinds of voices that we continue to hear from on ArtThrob. It’s very impressive and heartwarming to see how deeply our writers are thinking about art, artists and the ecosystem. I loved reading Margot Dower’s texts on Georgina Maxim and Gavin Jantjes, I also enjoyed Nancy Dantas’ reflections on the Casablanca Art School. And importantly I want to reiterate my gratitude to Mario Pissarra for honouring Ayesha Price and Vuyile Cameron Voyiya with so much care and love. 

Quote of the year: “…nothing truly interesting or revolutionary can ever be found on mass-market platforms.” – Jay Caspian Kang.

What I’d love to see in 2025: Artist’s inquiries that are actually genuine questions. 

What I’d love to see retired in 2025: People investing in their own precarity. Hollowed-out rhetoric. Mining trauma for the sake of keeping the market happy. We don’t have to do everything, some things we can say no to. 

Mario Pissarra

Favourite group show of the year: I didn’t get out enough to see anything to write home about.

Favourite solo show of the year: Thami Jali, ‘Mphendla Ndlela’, KZNSA, Durban.

Favourite artist of the year: Ayesha Price.

Favourite artwork of the year: Ayesha Price’s site-specific installation in collaboration with former and current District Six residents, ‘Harvest/ We have lost one another’. 

Favourite space: Art Resource Centre at DUT (yes, I am biased).

Favourite publication: Herri.

Quote of the year: “Reclaiming the land means working with it empathetically and collaboratively, to relate to it as more than just a transferable commodity.” (Ayesha Price) 

What I’d love to see in 2025: More recognition of artists who have produced significant bodies of work over many years, and who continue to produce important work despite being overlooked by galleries, curators, writers and collectors. The money being spent by DSAC on national representation in Venice being redirected towards transnational projects for southern Africa. Young artists and students reading books. And more support for ASAI and other deserving non-profits.

What I’d love to see retired in 2025: Overpaid and underperforming staff in municipal art museums (and their managers). Awards that benefit the bestowing agency more than the recipient. The idea that the artworld and art market are one. The idea that big is better. Writing that says nothing. 

Keely Shinners 

Favourite group show of the year: waste at breakroom. The exhibition at Igshaan Adams’ project space was the culmination of a workshop in which thirteen practitioners endeavoured to make something new out of the waste from Heath Nash’s furniture studio, Wunders. The results were wacky, wild, and totally unexpected. Highlights for me included Boytchie’s assemblage-paintings made from upholstery foam and Nicola West’s tentacular monster-sculptures sewn in satin.  

Favourite solo show of the year: Hylton Nel’s Things Made Over Time at Stevenson. The story of a life told through books, blooms, and beautiful boys. What more could you want?

Favourite artist of the year: Guy Simpson. For the longest time, I knew him as a draughtsman. He drew, primarily, walls, and he hung beloved artworks upon them. For his solo at THK last year, he took walls as his subject once again, but this time he proved to me his skill as a painter. In 2024, from Over the Garden Wall, which opened at breakroom in January, to Jacaranda, his most recent show at Everard Read, Guy has been going from strength to strength. The walls he paints now are exterior, rather than interior. They have a deftness of touch and texture that makes them feel not just like representations, but entities unto themselves. Sometimes, as I walk from one painting to another, I forget I’m in a gallery; I’m in the suburban neighbourhoods of Johannesburg of which Guy is so fond–their flaked paints and pockmarked walls–held by the quiet grace of his observations. Nowadays, when I walk around town, I will see a building’s chipped façade and immediately think of Guy. That’s the sign of a great artist: it’s not just that their art imitates life; life seems to imitate their art. 

Favourite artwork of the year: Oh my word. How to choose? Indulge me in this rolodex: Michael Beckurts’ Full House, a lonely table at cerulean dusk; Abri de Swardt’s monstrous and otherworld  Flood Light; Gerda Scheepers’ MOTHER BROTHER GAZA, which rendered the brutality in which we have become complicit so clairvoyantly; Inga Somdyala’s The Deep History, The Long Past VIII, an imposingly beautiful sail taken straight from our troubled earth ship; the organza cosmos of Vida Madighi-Oghu’s Unravelled Doek; Georgina Gratrix’s absinthe-hued The Green Studio; Songezo Zantsi’s Tsho-Tsho Ubekho, which depicted a wedding in the Transkei with an impressionist elegance that, frankly, rubs shoulders with the likes of Sekoto and Koloane; Luca Evans’ Make Me An Instrument of Your Pieces, which captured perfectly how stupid we all felt as we watched things fall apart; Vusumzi Nkomo’s visually delightful but intellectually dense Propositions for disorder: Amabhastiri; Sara Matthew’s tenderhearted Frida, for which she courageously took a friend’s elderly neighbour as a muse; and finally, Cara Biedermann’s If John Berger Was a Girl, whose subject took herself as muse. 

Favourite space: Demo Projects. Of course, I was sad to see the much-beloved Under Projects go, well… under (or, at least, underground). And the first time I attended an opening at the same Roeland Street space, handed over to a handful of fourth-year art students, I couldn’t help but think, “Oh God… am I the oldest person here?” But it was not long before Aaron Philander, Matt Watt, Luca Nichols, and Tom Symons won me over. Was it when they flooded the gallery for an exhibition called It’s Not That Deep? Or when Sara Matthews staged her own funeral, complete with coffin, pallbearers, elegies, and a t-shirt that proudly proclaimed, SELF INDULGENT? Last year, Ben pointed out in a review of a joint show between Under and FEDE that irreverence might be the trademark of Cape Town’s art scene at this particular point and time, and it was great to see the baton passed from one generation to another. Pretty soon, after winning a raffle one evening at the Kimberley Hotel, I found myself a participant in one of their group shows. For my contribution, I lay on a mound of sheepskin offcuts while Ryan Harvey tattooed “Keep your Mind in Hell and Despair Not” on my backside. Self indulgent? Probably. Irreverent? Indeed. 

Favourite publication: ArtThrob, obv. It’s been so wonderful to see the publication thrive under Nkgopoleng Moloi’s editorship. Voni Baloyi’s insightful review of Mme Esther Mahlangu’s retrospective, which grounds her work in the communal practices from which it originates, is a telling example. So too is Sean O’Toole’s recent review of Diana Vives’ solo at Everard Read, which deftly considers the effect of the MFA industrial complex on artistic practice. 

Quote of the year: Okay… The quote itself is from Thomas Browne’s 1658 essay Hydriotaphia, Urn Burial, or, a Discourse of the Sepulchral Urns lately found in Norfolk. I was introduced to it by husband, Dom Pretorius, who based his ceramics exhibition, which debuted at Vela Projects in August, on the text. It contains a line that I love: “And if any have been so happy as truly to understand Christian annihilation, ecstasis, exolution, liquefaction, transformation, the kiss of the spouse, gustation of God, and ingression into the divine shadow, they have already had a handsome anticipation of heaven; the glory of the world is surely over, and the earth in ashes unto them.”

What I’d love to see in 2025: This might sound nuts coming from me but––more sales. Most of the people I love are artists or art workers; when collectors aren’t buying, everyone in my orbit suffers. Of course, I aspire to live in a world where artists’ livelihoods are not dependent on the whims of a handful of one-percenters. But for 2025, at least, I wanna see POPs!

What I’d love to see retired in 2025: I should probably say something pithy or provincial here––but I can think of no greater threat to what we hope to do as writers, artists, and readers than the Israeli war machine that has been allowed to unleash unchecked terror on Gaza, the West Bank, Lebanon and Syria. The atrocities we witness on our phone screens threaten every day to anaesthetize our capacity for perception, erode our hearts, and insult the dignity of the human being. I am moved by the various acts of solidarity in the art world and otherwise that have arisen both locally and internationally, but we will not know peace until cessation and atonement.

Sean O’Toole

Favourite group show of the year: Testing the limberness of an idea is the province of the group exhibition. For me, Things take time, time takes things, an ambitious exhibition co-curated by Amy Watson and Bella Knemeyer at POOL’s sadly defunct space in Green Point Park, was a supple exercise in exhibition making. I can recite some of the works by heart. Maja Marx’s big, outdoor painting, an adventure of line presented across two wall surfaces. Jonah Sack’s flimsy terrestrial constructions, not quite kites, flapping in the wind. The distinctive hues of the mesmerising textiles created by Inga Sondyala (iron red canvas treated with sea salt) and Amy Rusch (pale green spinnaker cloth). Mitchell Gilbert Messina’s film about the Noon Gun. The rich analogue synth sounds of Dead Symbols (aka Fernando Damon, Vusumzi Nkomo and Rowan Smith) cohering into an agit-prop trip-hop. 

Must also mention: Offcuts, curated by artist Xanthe Scout Lardner-Burke at AVA Gallery, and the apparently authorless exhibition It’s not that deep, organised by the “Demo boys” at Demo Projects.

Favourite solo show of the year: I came to art through photography. It remains a love, despite having seemingly fallen off the map, at least at market and consequently from the lineup of many retail galleries. Jacopo Benassi’s solo exhibition, Criminal Self-Portrait, at GAM in Turin, was a revelation. It featured an obscured photo portrait of Hitler claimed to have been taken at Madame Tussaud’s, a study of a dying agave, a life-size plaster cast of an Italian eugenicist, a photographic still life with nude made in Taiwan, and a tiny wall caption that dedicated this room-scale exercise in de/reconstruction to Gordon Matta-Clark. Faith restored.

Must also mention: Frank Auerbach’s Starting Again at Venice’s Palazzo da Mosto, and two elegiac exhibitions in Cape Town, both about the familiar dead: Gerda Scheepers’s Mother Brother at Blank Projects and Maja Marx’s Thinking in Tongues for Whatiftheworld Gallery at the Cape Town Art Fair (which I had a hand in selecting).

Favourite artist of the year: Vusumzi Nkomo. He may be a ponderous and circuitous asker of questions in public – as demonstrated in a 2023 Q&A with jazz drummer Tumi Mogorosi at Under Projects, and again recently when quizzing Nolan Oswald Dennis following a screening of his film Specifications for a Reverse Archaeology (2022-23) at the Labia Theatre – but the terseness of Nkomo’s sculpturally inclined practice is compelling. And for the record: young artists should provoke old curmudgeons like me, in voice and deed. 

Favourite artwork of the year: Geez, only one? I loved, for different and not always explicable reasons, these works. Diana Vives’s A Further Shore (2023), a root of a red river gum burnt in a wildfire outside Philippi mounted on 20 turned and laquered beechwood legs, each fitted with brass piano castors. Luca Evans’s Make an instrument of your pieces (2024), a wood inlay piece composed of jumbled letters spelling out the phrase “THINGS FALL APART”. Vusumzi Nkomo’s Proposition for dis-order: Clamped cement sheets (2023), a dozen or so sheets of cement-stiffened hessian fabric held together by an industrial G-clamp. Nolan Oswald Dennis’s enigmatic Model for a Gasp (Veiled) (2024), a large black orb made of a silky fabric and covered with a woven net threaded with cowrie shells that periodically takes in air and inflates to a greater size. The twelfth and largest work in Jeanne Gaigher’s cycle of mixed-media paintings from her exhibition ‘group-psyche’. Erin Chaplin’s Python (2024), a wondrous little painting of hands and feet. Phillip Newman aka Boytchie’s Sorry No Change (2024), an empathy-rich painting that suggested this Stellies grad has the mad skills of a Willem de Kooning. Simon Stone’s Cinder Shard (2024), an oil painting of a rusty piece of metal displayed like a pendant suspended from a long piece of wire. Swoon all.

Favourite space:  Quite possibly the evergreen AVA Gallery, now under the enthused stewardship of Olga Speakes. Also, 196 Victoria Gallery in Woodstock, which always surprises, most recently with artist-farmer Gina van der Ploeg’s exhibition of flax grown on a pavement and remarkable woven things.

Favourite publication: Kyle Morland’s Dams, the first in a series of artist publications curated by Daniel Malan and published by A4 Arts Foundation. Morland is a sculptor, yes, but also a visual archaeologist of dams, those far-flung concrete infrastructures key to the survival of all South Africans. At a launch for the book-zine, designed by Ben Johnson, curator Nathalie Viruly suggested a reading of these structures that exceeds the social when she invoked the ghost of a dead magus, the New Yorker’s art critic Peter Schjeldahl: “Promiscuous, doing what anyone wants if the person is strong enough to hold it, concrete is the slut, the gigolo, of materials.” Wonderful.

Quote of the year: “It’s often preachy, but that’s not its biggest problem. The real problem is how it tokenizes, essentializes, minimizes and pigeonholes talented artists – and there are many here, among more than 300 participants – who have had their work sanded down to slogans and lessons so clear they could fit in a curator’s screenshot.” Jason Farago for the New York Times on the Venice Biennale.

What I’d love to see in 2025: New work, by all comers, that’s all. 

What I’d love to see retired in 2025: Talk about bananas.

Ashraf Jamal

Favourite Group Show: Ecospheres – JCAF – Joburg Contemporary Art Foundation.

Favourite Solo Show: Abdus Salaam’s Insaan: Human Being at Nirox Sculpture Park and Lyndi Sales’ Scribe at WHATIFTHEWORLD.

Favourite artist of the year: Dale Lawrence and Frances Goodman.

Favourite artwork of the year: ‘A lot to Unpack Here, A Lot of Weird Dreams’ – Dale Lawrence  and ‘Jenga II’ – Frances Goodman.

Favourite Space: Joburg Contemporary Art Foundation.

Favourite Publication: Thunderclap: A memoir of art and life & sudden death by Laura Cumming.  

Quote of the year: ‘The white paint, in this great and lonely self-portrait, lies beneath one eye like snow upon a bough’ – Laura Cumming, Thunderclap.

What I’d love to see in 2025: More words about pictures.

What I’d love to see retired in 2025: The denial and fantasy that galleries are not dealerships.

Nancy Dantas 

Favourite group show of the year: Black Ancient Futures, MAAT Lisbon.

Favourite solo show of the year: Carla Accardi, Palazzo Esposizioni, Rome.

Favourite artist of the year: Bertina Lopes.

Favourite artwork of the year: Wael Shawky, Drama 1882.

Favourite space: Malangatana Valente Ngwenya’s library; Bairro do Aeroporto, Maputo.

Favourite publication: 1970-2018 Interviews with Med Hondo: A Cinema on the Run.

Quote of the year: “Art is two things: a search for a road and a search for freedom” Alice Neel.

What I’d love to see in 2025: Project a Black Planet: The Art and Culture of Panafrica at the Art Institute of Chicago.

What I’d love to see retired in 2025: Conference fees.

Ben Albertyn

Favourite group show of the year: waste at breakroom. There were a few contenders (Things take time, time takes things at Pool, Grammars at Lemkus, Girls Girls Girls there by Shack), but waste was the most cohesive statement by a group show in 2024 and it delivered some of the most interesting shapes I saw all year.

Favourite solo show of the year: Hylton Nel at Stevenson. The people’s choice. Easily the most popular show in Cape Town this year and for good reason.

Favourite artist of the year: Vusi Nkomo. Also the most prolific artist. Nkomo has been cranking out work lately and it has resulted in some incredible concoctions, like the insane bubbling botanical sound installation device he made for the Grammars group show. His work is heady and often difficult, but the way he stages or dramatises the reification of abstract thought into concrete things is consistently compelling. He’s also mastered the form of the artist walkabout.

Favourite artwork of the year: Good Morning by Sara Matthews. I’ve been formulating a thought about a new strain of performance art that has emerged out of the Demo Projects ecosystem this year. I’m thinking about Leah Mascher’s NECKLACE, where the artist asked audience members to make her a necklace of hickies before a night out, Keely Shinners’ KEEP YOUR MIND IN HELL AND DESPAIR NOT (after Kathryn Smith), which saw Shinners get a tramp stamp of the titular phrase tattooed live on the Demo Projects floor and of course, Sara Matthews’ fake funeral. These works are quite unlike the Jay Pather school of performance art that Cape Town has become used to over the last few decades. They’re far sillier and I love the idea of using the intense, confrontational and embarrassing nature of performance art in service of a low stakes joke. That tension is way more interesting than the usual MO of performance art, which is to use intensity in service of more intensity. Matthews lying in an open casket covered in roses under the pale fluorescents of 79 Roeland Street was pretty funny.

Favourite space: Lemkus Gallery. The space itself is flattering and the new Residency28 format that Jared Leite has been facilitating there is yielding interesting work. The gallery runs on a hybrid funding structure which means it is less dependent on sales and a lot freer to try stuff. Excited to see what comes of it.

Favourite publication: The Odd Review. I’m biased, but Noah Lee Swann’s recently minted Instagram publication feels quite rare and I’m proud to have featured in it. The work they’ve put out has been consistently curious. 

Quote of the year: “Psychologists tell us that little children are proud of their own shit, and enjoy showing it to other people, until they are informed that their shit is disgusting and should be hidden, and I suddenly wondered whether artists somehow never got this message and kept on being proud of their shit and wanting to show it to people. Mauro gave a bark of laughter. But isn’t that precisely how they help us? he said. Isn’t that why we go and look at their shit, as you call it? Because we have become ashamed of our own?” – from Parade by Rachel Cusk.

What I’d love to see in 2025: Bring back labels on the wall next to the artworks. I know it looks nicer to have clean walls; this is a practical request. Labels on the wall help distinguish the works in my head and without them exhibitions feel like a mush.

What I’d love to see retired in 2025: I want to say “exhibition texts,” like I do every year, but I mean that more as a comment on the general state of the exhibition text. I still think exhibition texts are necessary, but something needs to change ffs.

Tanlume Enyatseng

Favourite group show of the year:  Ne Keo Gopotse –  a monumental moment for Botswana’s contemporary arts scene and a groundbreaking feat for queer arts and narratives.  

Favourite solo show of the year: Lowe – The Day Paintings by Thebe Phetogo at 99 Loop Gallery in Cape Town. 

Favourite artist of the year: Thebe Phetogo. I just love his approach and commitment to his craft and how he is continuously redefining Botswana’s artistic identity.  

Favourite artwork of the year:  “Ade” by Katlego C.L Twala. Such a promising emerging talent. Excited to see what the coming year has in store from her.

Favourite space: Montresso Art Foundation in Morocco. Its blend of residency programs and exhibitions creates a dynamic platform for global artistic exchanges.  

Favourite publication:  “TA Pinda.” A limited edition publication commemorating queer art collective, Banana Club’s ongoing commitment to celebrating the resilience, beauty, and creative prowess of black African queer bodies in collaboration with Paris based Feu Magazine.

Quote of the year: “It is not a crime to live, survive, breathe and not always be perceived as someone who needs to be saved.” – Professor Zanele Muholi. This resonated deeply during their conversation at Southern Guild’s “A Queer Reading” (August 12, 2023), part of the Somnyama Ngonyama series. I have adopted this to how I have approached my practice this year.

What I’d love to see in 2025: More intersectional approaches and deeper cross-cultural connections between African artists and their audiences. It’s time to push boundaries and foster true Pan-Africanism.    

What I’d love to see retired in 2025: Live and let live.

Hamzeh Alfarahneh

Favourite group show of the year: Ecospheres at JCAF.

Favourite solo show of the year: A tie between Shine Shivan’s Basant and Bronwyn Katz: Stone’s Embrace, A Love Spiral of Erosion and Renewal.

Favourite artist of the year: Banele Khoza.

Favourite artwork of the year: Moshekwa Langa, I Am So Sorry (Blue) (2001). Gouache and pencil on paper, 100 x 140 cm. Featured in Moshekwa’s exhibition at A4 Arts Foundation.

Favourite space: Darat Al Funun in Amman, Jordan, particularly the Roman ruins in the garden that double as an outdoor movie screening space in summer.

Favourite publication: Kyle Morland’s Dams, published by proto~

Quote of the year: Overheard at a dinner: “Why should I know you?”

What I’d love to see in 2025: Major retrospectives of women and queer artists in South Africa.

What I’d love to see retired in 2025: Collectors who feel entitled to not pay on time for artworks yet still expect a discount.

David Mann 

Favourite group show of the year: Non-forms – the geometry of imagination at Gallery 1.

Favourite solo show of the year: Nolan Oswald Dennis’ Understudies at Zeitz MOCAA.

Favourite artist of the year: Oupa Sibeko.

Favourite artwork of the year: The pro-Palestinian murals and wheatpastes by Visual Intifada that pop up weekly at the intersection of Jan Smuts and Empire Road.

Favourite space: The freestanding fibreglass tuckshop housing Nina Barnett’s installation, A Pooling, on an island in the middle of the Vaal Dam.

Favourite publication: Sean O’Toole’s The Green Interior (which came out late last year, but I read it this year).

Quote of the year: “Look at this, you have made something that will outlive you!” – Jodi Bieber receiving a copy of my book.

What I’d love to see in 2025: More DIY art spaces.

What I’d love to see retired in 2025: Reviews that read like commercial wall texts or academic abstracts. 

Zada Hanmer 

Favourite group show: Curators’ Kiki at Stevenson and their closets, their caskets (part i) by the art collective ‘everything in; out’ at Contra.Joburg.

Favourite solo show: Bettina Malcomess’ Sentimental Agents and Penny Siopis’ live performance and walk-through at The Centre for the Less Good Idea.

Favourite artists: Penny Siopis and Gabrielle Goliath, with a special mention of Bronwyn Davis. 

Favourite artwork: The Atlas paintings by Penny Siopis.

Favourite space: The Centre for the Less Good Idea.

Favourite publication: ArtThrob and Africa is a Country.

Quote of the year: “I don’t find answers, just history told in a series of unfinished sentences.”  Bettina Malcomess.

What I’d love to see in 2025: Some more cross-disciplinary work which melds together different art forms in interesting ways. More site-specific curation.  

What I’d love to see retired in 2025: The archival curation style.

Minna Dundas

Favourite group show of the year: Unravel: The Power and Politics of Textiles in Art at the Barbican Centre, London. Great concept and curation and wonderful to see works by South Africa’s Igshaan Adams and Nicholas Hlobo alongside other international superstars such as Ibrahim Mahama, Louise Bourgeois and Yinka Shonibare CBE RA.

Favourite solo show of the year: Scottish Mission Book Depot Keta, a huge retrospective dedicated to El Anatsui at the Talbot Rice Gallery, Edinburgh. I’ve been thinking about this show a lot since I visited it in July; I’m really amazed by his extensive impact on the continent’s visual culture.

Favourite artist of the year: Xanthe Somers – I’m excited to see where she’ll go.

Favourite artwork of the year: The Weary Weaver, Xanthe Somers, 2024 as part of her show at Southern Guild, Invisible Hand.

Favourite space: The gardens at the Norval Foundation, they’re very peaceful.

Favourite publication: Chika Okeke-Agulu and Okwui Enwezor’s, ‘El Anatsui: The Reinvention of Sculpture’ – this book covers so many vital topics and themes in African Art History that I don’t feel are as widely spoken about as they ought to be.

Quote of the year: ‘Art grows out of each particular situation, and I believe that artists are better off working with whatever their environment throws up.’ – El Anatsui

What I’d love to see in 2025: More attention to materiality and a curatorial emphasis on OBJECTS.  A focus on highly saturated figurative painting, please.