{"id":1796319,"date":"2026-02-27T10:36:00","date_gmt":"2026-02-27T07:36:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1796319"},"modified":"2026-02-27T10:36:00","modified_gmt":"2026-02-27T07:36:00","slug":"the-best-art-and-photography-shows-to-see-in-march-2026","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1796319","title":{"rendered":"The best art and photography shows to see in March 2026"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/0-0-3000-2000\/azure\/dazed-prod\/1430\/1\/1431245.jpg&#8221;]<\/p>\n<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/art-photography\/article\/69763\/1\/arts-shows-eave-the-house-for-march-2026-london-nyc-la-margate-amsterdam\" data-article-id=\"69763\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.4\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Ezekiel, Somewhere between a dog and a doll, photo book\" class=\"img\" height=\"2143\" src=\"https:\/\/images-prod.dazeddigital.com\/1400\/azure\/dazed-prod\/1430\/1\/1431245.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">Photography Ezekiel<\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-02-27T10:36:00+00:00\" class=\"timestamp\" title=\"27 February 2026\"><span class=\"month\">February<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - art-photography\" href=\"https:\/\/www.dazeddigital.com\/art-photography\">Art &amp; Photography<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/art-photography\">Art &amp; Photography<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<h1 class=\"title\"><span>The best art and photography shows to see in <span class=\"nowrap\">March 2026<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>A replica Oval Office on a council estate, an exhibition in a cash and carry in Rochdale, an exploration of American mythologies held in an area of intense ICE scrutiny, and <span class=\"nowrap\">much more&#8230;<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-02-27T10:36:00+00:00\" class=\"timestamp\" title=\"27 February 2026\"><span class=\"month\">February<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-02-27T10:36:00+00:00\" class=\"timestamp\" title=\"27 February 2026\"><span class=\"month\">February<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/AshleighKane\">Ashleigh Kane<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>From latex gloves and presidential peepholes to cash-and-carry warehouses after dark, this month\u2019s exhibitions circle power, visibility, and who gets to claim space. Across London, Margate, Amsterdam, Los Angeles, and New York, artists turn intimacy into theatre, heritage into set, and the body into battleground and archive. Authority is miniaturised, memes immortalised, and migration is traced through gesture and memory. What binds this list isn\u2019t a single theme but a shared insistence that looking is never neutral, and that freedom \u2013 whether personal, political or planetary \u2013 is always under negotiation. Until next month!<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<h1><em>S\u00cdOMHA HARRINGTON: A SPY IN THE HOUSE OF LOVE<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>S\u00edomha Harrington\u2019s UK solo debut stages intimacy as something rehearsed, negotiated, and a little bit dangerous. Across 12 small-scale paintings and one commanding central canvas, latex gloves, ribbons, and choreographed gestures form a tight visual language of desire and control. Bodies hover between agency and submission, performer and prop, drawing the viewer into the mechanics of looking. Co-curated with Maudji Mendel, the work is shown in dialogue with Valentine Dobr\u00e9e\u2019s <\/span><em><span>Black Gloves<\/span><\/em><span> (1930).<\/span><\/p>\n<p><em><span><a href=\"https:\/\/www.aliceblackgallery.com\/exhibitions-main-page\">A Spy in the House of Love<\/a> runs 20 March \u2013 25 April 2026 at ALICE BLACK, London, UK<\/span><\/em><\/p>\n<h1><em>ALINA AKBAR: QUEEN OF THE NIGHT,<\/em> ROCHDALE, UK<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A Pakistani family-owned cash and carry warehouse becomes an after-hours stage in Alina Akbar\u2019s <\/span><em><span>Queen of the Night<\/span><\/em><span>. Set inside Haji Cash &amp; Carry (which was established in 1955), this multi-artform exhibition moves across photography, sculpture, sound, and film, drawing from late-night car conversations between young Muslim women. At its centre is a Nissan Micra, recast as both sculptural object and private third space, where voices speak on freedom, surveillance, jinn folklore, and inherited anxiety. Devotional symbols and youth ephemera are enlarged, twisted, and played with, exposing the tightrope between ritual and rebellion. Tender, funny, and defiant, the show asks who heritage belongs to \u2013 and who gets to rewrite it.<\/span><\/p>\n<p><em><span>Queen of the Night runs 26\u201329 March 2026 at Haji Cash &amp; Carry, Rochdale, UK<\/span><\/em><\/p>\n<h1><em>BENJAMIN SLINGER: JIB DOOR<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Benjamin Slinger turns a former bike shop on an ex-council estate into a scaled replica of the Oval Office. Except that no one can enter it. The space is sealed off behind a fabricated presidential door, viewable only through a brass door peephole. Mouldings, carpet, gloss paint, and gilt frames compress decades of presidential interiors into a single composite set. Here, authority is lacking, theatrical, and slightly off \u2013 which sounds like business as usual\u2026<\/span><\/p>\n<p><em><span>Jib Door runs 13 February \u2013 13 March 2026 at Best Wishes, @ Next Door, London, UK<\/span><\/em><\/p>\n<h1><em>DEVYN GALINDO: SMOKING MIRROR<\/em>, CALIFORNIA, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Opening in Riverside \u2013 an area currently under intensified ICE policing \u2013 Devyn Galindo\u2019s <\/span><em><span>Smoking Mirror<\/span><\/em><span> meets the present moment head-on. Through a decolonial lens, the two-spirit M\u0113xika-Indigenous artist traces their paternal family\u2019s migration routes from the pueblos of West Texas and New Mexico to California\u2019s strawberry fields and barrios. Sacred ruins and cosmologies sit alongside razor wire, labour histories, and the ongoing violence of the US-Mexico border. The myth of the \u201cAmerican Cowboy\u201d unravels under pressure as personal archive folds into collective resistance, positioning the US-Mexico border as both a wound and a site of survival.<\/span><\/p>\n<p><em><span>Smoking Mirror opens 26 March 2026 at Norco College Gallery, Riverside, California, USA<\/span><\/em><\/p>\n<h1><em>TRACING MOVEMENT<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Guest-curated by Wondering People, <\/span><em><span>Tracing Movement<\/span><\/em><span> borrows Patti Smith\u2019s line, \u201cThe first sensation I remember is movement\u201d, and gathers works by Andrew Pierce Scott, Nathalia Triantyfili, William van Hoorn, Jiahe Zhang, and Elena Zagari to think through migration, bodily gesture, collective movement, and environmental wear. Movement here is physical, political, and intimate, and the works are in-process and lived-in as opposed to anything declarative or fixed \u2013 tracing how shifts in space and community happen, often quietly, over time.<\/span><\/p>\n<p><a href=\"https:\/\/www.sohorevue.com\/exhibitions-1\/tracing-movement\"><em><span>Tracing Movement<\/span><\/em><\/a><em><span> runs 4 March \u2013 18 April 2026 at Soho Revue, London, UK<\/span><\/em><\/p>\n<h1><em>CHRISTINE TIEN WANG &amp; RACHEL YOUN: FACTORY DOOMSCROLL<\/em>, LOS ANGELES, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Christine Tien Wang and Rachel Youn put self-care and meme culture into an endless loop. Wang paints the internet\u2019s detritus \u2013 from thirst traps to viral villains \u2013 with Old Master precision, immortalising content that is meant to be discarded or disappear. Youn, meanwhile, rigs massage guns, baby rockers, and car-wash bristles into twitching, overworked sculptures that keep performing long after their purpose has ended. Together, they turn dopamine machines inside out. It\u2019s a show about late capitalism\u2019s promise of comfort that never quite lands \u2013 funny, bleak, and painfully accurate.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/www.nightgallery.ca\/exhibitions\/factory-doomscroll\"><em><span>Factory Doomscroll<\/span><\/em><\/a><em><span> runs 21 February \u2013 4 April 2026 at Night Gallery, Los Angeles, California, USA<\/span><\/em><\/p>\n<h1><em>AMAAL SAID: BETWEEN HERE AND ELSEWHERE,<\/em> LONDON, UK<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Set in Forma\u2019s 24\/7 window gallery in Bermondsey Square, <\/span><em><span>Between Here and Elsewhere<\/span><\/em><span> centres the film <\/span><em><span>Open Country<\/span><\/em><span> (2025) which follows a Somali mother and daughter travelling from London into the Kent countryside. As the daughter records a cassette for her grandmother in Somalia, belonging becomes something both claimed and questioned. New photographic works line the gallery\u2019s glass window, figures caught mid-reflection, just as visible as they are unreachable. A quiet, necessary study of migration and the tension between being here while longing for elsewhere.<\/span><\/p>\n<p><a href=\"https:\/\/forma.org.uk\/projects\/between-here-and-elsewhere\/\"><em><span>Between Here and Elsewhere<\/span><\/em><\/a><em><span> runs 26 February \u2013 7 June 2026 at Forma, Bermondsey Square, London, UK<\/span><\/em><\/p>\n<h1><em>JACK DAVISON, PORTRAITS: 14\u201316 NOVEMBER<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>What started as a self-imposed challenge of how many portraits he could make in a day became 90 faces photographed over three days. Now, it\u2019s the first chapter in a lifelong project. Street-cast in London with Coco Wu, these headshot portraits strip everything back. Printed as photopolymer gravures and installed as a dense constellation. Davison plans to repeat the process annually.<\/span><\/p>\n<p><a href=\"https:\/\/www.cobgallery.com\/exhibitions\/131-portraits-1416-november-jack-davison\/\"><em><span>Portraits: 14\u201316 November<\/span><\/em><\/a><em><span> runs 6 March \u2013 2 April 2026 at Cob Gallery, London, UK<\/span><\/em><\/p>\n<h1><em>GORDON PARKS: WE SHALL NOT BE MOVED<\/em>, LONDON, UK<\/h1>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"fe825866-5288-4fc0-bf08-b3fd00f016bf\" data-src=\"https:\/\/images-prod.dazeddigital.com\/1276\/azure\/dazed-prod\/1430\/9\/1439188.jpg\" data-img-aspect-ratio-type=\"square\" data-img-aspect-ratio=\"0.99\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"square\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Gordon Parks, We Shall Not Be Moved \" class=\"img\" height=\"1284\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1430\/9\/1439188.jpg\" width=\"1276\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"caption\">Department Store, Mobile, <span class=\"nowrap\">Alabama, 1956<\/span><\/span><span class=\"credit\">Archival pigment print 162.6 x 162.6 cm (64 x 64 in) \u00a9 The Gordon <span class=\"nowrap\">Parks Foundation<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Curated by Bryan Stevenson, this is a focused survey of Gordon Parks spanning 1942\u20131967. From <\/span><em>American Gothic, Washington, D.C.<\/em><span> to the 1963 March on Washington and his <\/span><em>Segregation in the South<\/em><span> series, Parks\u2019 camera operates exactly as he described it: a weapon against racism and poverty. Stevenson\u2019s curation sharpens the present-tense urgency of resistance, erasure, and civil rights under threat. What should be historical artefacts are instead documents of our time.<\/span><\/p>\n<p><a href=\"https:\/\/alisonjacques.com\/exhibitions\/gordon-parks-we-shall-not-be-moved\"><em><span>We Shall Not Be Moved<\/span><\/em><\/a><em><span> runs 5 March \u2013 11 April 2026 at Alison Jacques, London, UK<\/span><\/em><\/p>\n<h1><em>TRACEY EMIN: A SECOND LIFE<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Tate Modern stages the largest survey of <a href=\"https:\/\/www.dazeddigital.com\/tracey-emin\">Tracey Emin<\/a>\u2019s work to date, spanning four decades of confession, rupture, and return. <\/span><em><span>My Bed<\/span><\/em><span>, <\/span><em><span>Exorcism of the Last Painting I Ever Made<\/span><\/em><span>, early video works, and textiles sit alongside new bronzes and paintings shaped by illness, survival, and what Emin calls her \u201csecond life\u201d.\u00a0<\/span><\/p>\n<p><em><span>A Second Life runs 27 February \u2013 31 August 2026 at Tate Modern, London, UK<\/span><\/em><\/p>\n<h1><em>LINDSAY PERRYMAN: TOPS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Born from Perryman\u2019s own top surgery journey, <\/span><em><span>TOPS<\/span><\/em><span> moves from short film to photography to monograph. The images hold tenderness without softening the stakes. At the centre of <\/span><em><span>TOPS<\/span><\/em><span> is community. Framed by John Edmonds\u2019 poem <\/span><em><span>ON THE L<\/span><\/em><span>, scars become an archive, caregiving an act of survival, and trans-masculine vulnerability something fiercely visible.\u00a0<\/span><\/p>\n<p><em><span>TOPS runs 9 March \u2013 17 April 2026 at 10 14 Gallery, London, UK<\/span><\/em><\/p>\n<h1><em>VERENA BLOK: LOVE SHIT, AMSTERDAM<\/em>, NETHERLANDS<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Shaped by her own pregnancy and time working in a Dutch abortion clinic, Verena Blok turns her lens on reproduction. Full of contradictions: intimacy and autonomy, joy and grief, care and control, the images are shot on analogue 35mm and feature portraits of pregnant women, children, and couples alongside abstractions and diary fragments, bridging the personal to the political. At a moment when reproductive rights are increasingly fragile, Blok chooses to focus on the messy, embodied reality of choice.<\/span><\/p>\n<p><a href=\"https:\/\/www.foam.org\/press\/verena-blok-love-shit\"><em><span>Love Shit<\/span><\/em><\/a><em><span> runs 6 March \u2013 25 May 2026 at Foam, Amsterdam, Netherlands<\/span><\/em><\/p>\n<h1><em>EZEKIEL: SOMEWHERE BETWEEN A DOLL AND A DOG<\/em>, MARGATE, UK<\/h1>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"3c69029e-c569-44d8-bceb-b39c00d628f6\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1430\/1\/1431245.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.4\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Ezekiel, Somewhere between a dog and a doll, photo book\" class=\"img\" height=\"2143\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1430\/1\/1431245.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"credit\">Photography Ezekiel<\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>First profiled in <\/span><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69125\/1\/ezekiel-somewhere-between-doll-dog-trans-portraits-masculinity-photo-book\"><span>Dazed last year<\/span><\/a><span> as \u201ca diasporic archive of transness\u201d, Ezekiel\u2019s <\/span><em><span>Somewhere Between a Doll and a Dog <\/span><\/em><span>now expands into an exhibition in Margate \u2013 a town currently represented by Reform UK. Shot over three years across the UK, the Philippines, Europe, and the US, the work moves through raves, prisons, bedrooms, and mythologies, tracing masculinity as something unstable and porous. Refusing Western binaries, Ezekiel builds a trans archive that is planetary, spiritual, and defiantly visible.\u00a0<\/span><\/p>\n<p><em><span>Somewhere Between a Doll and a Dog launches 21 March 2026 at CRATE, Margate, UK<\/span><\/em><\/p>\n<h1><em>OVEREXPOSED: ART, TECHNOLOGY, AND THE BODY<\/em>, NEW YORK, USA<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>From X-rays to endoscopies, <\/span><em><span>Overexposed<\/span><\/em><span> asks what it means to live in an age where the body is endlessly imaged, scanned, and rendered transparent. Bringing together historical medical artefacts, film, and installation, the exhibition tracks how technologies designed to diagnose and surveil have reshaped ideas of privacy, vulnerability, and control. Works by figures including Barbara Hammer and Ana Mendieta sit alongside 16 women and gender-expansive artists from 13 countries to reframe visibility as both power and exposure.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/movingimage.org\/event\/overexposed\/\"><em><span>Overexposed<\/span><\/em><\/a><em><span> runs 14 March 2026 \u2013 3 January 2027 at the Museum of the Moving Image, New York, USA<\/span><\/em><\/p>\n<h1><em>METRO54: PRACTISING FREEDOM AND REFUSAL, <\/em>AMSTERDAM, NETHERLANDS<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Part of the wider <\/span><em><span>Sustaining the Otherwise<\/span><\/em><span> programme, <\/span><em><span>Practising Freedom and Refusal <\/span><\/em><span>shifts restitution beyond the return of objects and into the realm of memory, labour, and knowledge. Featuring AYO, Masimba Hwati, Christian Nyampeta, Adeju Thompson, and Helena Uambembe, the show treats artistic practice as a site where reparation is felt. Sound, textile, film, and sculpture ask what it means to refuse extractive systems, and what freedom looks like when built through intimacy, study, and care.\u00a0<\/span><\/p>\n<p><em><span>Practising Freedom and Refusal runs 27 February \u2013 24 April 2026 at Metro54, Amsterdam, Netherlands<\/span><\/em><\/p>\n<h1><em>SPECTROSYNTHESIS SEOUL<\/em>, KOREA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>South Korea\u2019s first major institutional exhibition dedicated to queer subjects arrives at Art Sonje Center this spring. Spectrosynthesis Seoul, presented by Sunpride Foundation in collaboration with Art Sonje Center, gathers over 70 LGBTQ+ artists and collectives, centring on the ideas of memory, place, and form across both local and international practices. With \u201ctrans\u201d as a core theme, the exhibition foregrounds the lives of queer people marginalised during Korea\u2019s rapid modernisation, tracing how bodies, identities, and communities have been rearticulated across time.<\/p>\n<p><em><a href=\"https:\/\/artsonje.org\/en\/exhibition\/spectrosynthesis-seoul\/\">Spectrosynthesis Seoul<\/a> is running from 20 March 20 until 28 Jun 2026 at Art Sonje Center.<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. 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class=\"lava-lamp-subheading\">Expand your creative community and connect with 15,000 creatives from around the world.<\/h3>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"grid section-header\">\n<div class=\"section-header__link\"><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69763\/1\/art-photography\"><\/p>\n<h2 class=\"section-header__title\">READ MORE<\/h2>\n<p><\/a><\/div>\n<\/div>\n<div class=\"grid tag-article-list\">\n<div class=\"swiper swiper-latest\">\n<div class=\"swiper-wrapper\">\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69743\/1\/the-dazed-guide-to-tracey-emin-tate-modern-yba\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Tracey Emin, Why I Never Became a Dancer (1995)\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/1-3-529-352\/azure\/dazed-prod\/1430\/8\/1438751.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">The dA-Zed guide to Tracey Emin<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69713\/1\/gracie-brackstone-photo-book-friendship-love-community-protest-london-manchester\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Gracie Brackstone, Heaven &amp; Hell, Love &amp; Loss\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-0-1539-1024\/azure\/dazed-prod\/1430\/8\/1438421.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">These photos document love and loss in times of political crisis<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/fashion\/article\/69562\/1\/reeboks-classics-garment-leather-new-karol-g\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\"> Reebok <\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"SS26_T2-Classics_NYC_Photo-Library-024\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-2-2822-1877\/azure\/dazed-prod\/1430\/6\/1436935.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Your favourite Reeboks are getting a makeover<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69682\/1\/through-a-glass-darkly-naeem-mohaimen-exhibition-corinthians-kent-state-protest\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Naeem Mohaiemen, Through A&#160;Mirror, Darkly\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/29-0-827-550\/azure\/dazed-prod\/1430\/8\/1438002.png\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">This film explores how two shootings defined the student protest movement<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69693\/1\/farah-al-qasimi-pyschic-repair-exhibition-scad-photographer-musican-internet-art\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Farah Al Qasimi, Psychic Repair\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-0-2448-1628\/azure\/dazed-prod\/1430\/8\/1438073.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">These photos explore the internet\u2019s supernatural depths<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69655\/1\/in-pictures-bacardi-manchester-sasha-shuttleworth-dancefloor\"><\/p>\n<div class=\"card-latest__img-wrapper\">\n<p class=\"optional-paragraph\">BACARD\u00cd<\/p>\n<p><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"04\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-231-1080-718\/azure\/dazed-prod\/1430\/7\/1437561.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">In pictures: Manchester\u2019s electrifying, multigenerational party spirit<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69698\/1\/placebo-brian-molko-90s-photo-book-scarlet-page-exposed-rock-band-photography\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Scarlet Page, Exposed: 3 Years With Placebo\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-916-1811-1205\/azure\/dazed-prod\/1430\/8\/1438079.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">This photo book documents the glamour and grit of Placebo\u2019s ascent<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69674\/1\/radically-rethink-what-means-to-make-art-restless-egg-technology-berlin-deepmind\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Acid City (2026) still\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/227-146-799-532\/azure\/dazed-prod\/1430\/7\/1437908.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">This collective is radically rethinking what it means to make art<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69675\/1\/roe-ethridge-rude-in-a-good-way-loose-joints-photo-book-photography-interview\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Roe_Ethridge_Rude_In_the_Good_Way_10\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-188-2000-1330\/azure\/dazed-prod\/1430\/7\/1437915.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Photographer Roe Ethridge on sexuality and serendipity <\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69616\/1\/paintings-daily-life-in-gaza-marwan-nassar-survive-witness-p21-gallery-london\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Untitled, 2025, 30x20cm \" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-735-2170-1443\/azure\/dazed-prod\/1430\/7\/1437009.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">These haunting paintings depict daily life in Gaza<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69659\/1\/what-went-down-at-the-dazed-club-private-view-of-new-contemporaries\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"DAZED_CLUB 57\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-2-3000-1995\/azure\/dazed-prod\/1430\/7\/1437632.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">What went down at the Dazed Club private view of New Contemporaries<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69657\/1\/rotterdam-new-photography-museum-nederlands-exhibition-archive\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"ID-71_Max-Natkiel\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-271-1938-1289\/azure\/dazed-prod\/1430\/7\/1437626.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">This exhibition opens up one of the world\u2019s largest photography collections<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"newsletter-inline\" data-newsletter hidden>\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>From latex gloves and presidential peepholes to cash-and-carry warehouses after dark, this month\u2019s exhibitions circle power, visibility, and who gets to claim space. Across London, Margate, Amsterdam, Los Angeles, and New York, artists turn intimacy into theatre, heritage into set, and the body into battleground and archive. Authority is miniaturised, memes immortalised, and migration is traced through gesture and memory. What binds this list isn\u2019t a single theme but a shared insistence that looking is never neutral, and that freedom \u2013 whether personal, political or planetary \u2013 is always under negotiation. Until next month!<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<h1><em>S\u00cdOMHA HARRINGTON: A SPY IN THE HOUSE OF LOVE<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>S\u00edomha Harrington\u2019s UK solo debut stages intimacy as something rehearsed, negotiated, and a little bit dangerous. Across 12 small-scale paintings and one commanding central canvas, latex gloves, ribbons, and choreographed gestures form a tight visual language of desire and control. Bodies hover between agency and submission, performer and prop, drawing the viewer into the mechanics of looking. Co-curated with Maudji Mendel, the work is shown in dialogue with Valentine Dobr\u00e9e\u2019s <\/span><em><span>Black Gloves<\/span><\/em><span> (1930).<\/span><\/p>\n<p><em><span><a href=\"https:\/\/www.aliceblackgallery.com\/exhibitions-main-page\">A Spy in the House of Love<\/a> runs 20 March \u2013 25 April 2026 at ALICE BLACK, London, UK<\/span><\/em><\/p>\n<h1><em>ALINA AKBAR: QUEEN OF THE NIGHT,<\/em> ROCHDALE, UK<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>A Pakistani family-owned cash and carry warehouse becomes an after-hours stage in Alina Akbar\u2019s <\/span><em><span>Queen of the Night<\/span><\/em><span>. Set inside Haji Cash &amp; Carry (which was established in 1955), this multi-artform exhibition moves across photography, sculpture, sound, and film, drawing from late-night car conversations between young Muslim women. At its centre is a Nissan Micra, recast as both sculptural object and private third space, where voices speak on freedom, surveillance, jinn folklore, and inherited anxiety. Devotional symbols and youth ephemera are enlarged, twisted, and played with, exposing the tightrope between ritual and rebellion. Tender, funny, and defiant, the show asks who heritage belongs to \u2013 and who gets to rewrite it.<\/span><\/p>\n<p><em><span>Queen of the Night runs 26\u201329 March 2026 at Haji Cash &amp; Carry, Rochdale, UK<\/span><\/em><\/p>\n<h1><em>BENJAMIN SLINGER: JIB DOOR<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Benjamin Slinger turns a former bike shop on an ex-council estate into a scaled replica of the Oval Office. Except that no one can enter it. The space is sealed off behind a fabricated presidential door, viewable only through a brass door peephole. Mouldings, carpet, gloss paint, and gilt frames compress decades of presidential interiors into a single composite set. Here, authority is lacking, theatrical, and slightly off \u2013 which sounds like business as usual\u2026<\/span><\/p>\n<p><em><span>Jib Door runs 13 February \u2013 13 March 2026 at Best Wishes, @ Next Door, London, UK<\/span><\/em><\/p>\n<h1><em>DEVYN GALINDO: SMOKING MIRROR<\/em>, CALIFORNIA, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Opening in Riverside \u2013 an area currently under intensified ICE policing \u2013 Devyn Galindo\u2019s <\/span><em><span>Smoking Mirror<\/span><\/em><span> meets the present moment head-on. Through a decolonial lens, the two-spirit M\u0113xika-Indigenous artist traces their paternal family\u2019s migration routes from the pueblos of West Texas and New Mexico to California\u2019s strawberry fields and barrios. Sacred ruins and cosmologies sit alongside razor wire, labour histories, and the ongoing violence of the US-Mexico border. The myth of the \u201cAmerican Cowboy\u201d unravels under pressure as personal archive folds into collective resistance, positioning the US-Mexico border as both a wound and a site of survival.<\/span><\/p>\n<p><em><span>Smoking Mirror opens 26 March 2026 at Norco College Gallery, Riverside, California, USA<\/span><\/em><\/p>\n<h1><em>TRACING MOVEMENT<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Guest-curated by Wondering People, <\/span><em><span>Tracing Movement<\/span><\/em><span> borrows Patti Smith\u2019s line, \u201cThe first sensation I remember is movement\u201d, and gathers works by Andrew Pierce Scott, Nathalia Triantyfili, William van Hoorn, Jiahe Zhang, and Elena Zagari to think through migration, bodily gesture, collective movement, and environmental wear. Movement here is physical, political, and intimate, and the works are in-process and lived-in as opposed to anything declarative or fixed \u2013 tracing how shifts in space and community happen, often quietly, over time.<\/span><\/p>\n<p><a href=\"https:\/\/www.sohorevue.com\/exhibitions-1\/tracing-movement\"><em><span>Tracing Movement<\/span><\/em><\/a><em><span> runs 4 March \u2013 18 April 2026 at Soho Revue, London, UK<\/span><\/em><\/p>\n<h1><em>CHRISTINE TIEN WANG &amp; RACHEL YOUN: FACTORY DOOMSCROLL<\/em>, LOS ANGELES, USA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Christine Tien Wang and Rachel Youn put self-care and meme culture into an endless loop. Wang paints the internet\u2019s detritus \u2013 from thirst traps to viral villains \u2013 with Old Master precision, immortalising content that is meant to be discarded or disappear. Youn, meanwhile, rigs massage guns, baby rockers, and car-wash bristles into twitching, overworked sculptures that keep performing long after their purpose has ended. Together, they turn dopamine machines inside out. It\u2019s a show about late capitalism\u2019s promise of comfort that never quite lands \u2013 funny, bleak, and painfully accurate.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/www.nightgallery.ca\/exhibitions\/factory-doomscroll\"><em><span>Factory Doomscroll<\/span><\/em><\/a><em><span> runs 21 February \u2013 4 April 2026 at Night Gallery, Los Angeles, California, USA<\/span><\/em><\/p>\n<h1><em>AMAAL SAID: BETWEEN HERE AND ELSEWHERE,<\/em> LONDON, UK<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Set in Forma\u2019s 24\/7 window gallery in Bermondsey Square, <\/span><em><span>Between Here and Elsewhere<\/span><\/em><span> centres the film <\/span><em><span>Open Country<\/span><\/em><span> (2025) which follows a Somali mother and daughter travelling from London into the Kent countryside. As the daughter records a cassette for her grandmother in Somalia, belonging becomes something both claimed and questioned. New photographic works line the gallery\u2019s glass window, figures caught mid-reflection, just as visible as they are unreachable. A quiet, necessary study of migration and the tension between being here while longing for elsewhere.<\/span><\/p>\n<p><a href=\"https:\/\/forma.org.uk\/projects\/between-here-and-elsewhere\/\"><em><span>Between Here and Elsewhere<\/span><\/em><\/a><em><span> runs 26 February \u2013 7 June 2026 at Forma, Bermondsey Square, London, UK<\/span><\/em><\/p>\n<h1><em>JACK DAVISON, PORTRAITS: 14\u201316 NOVEMBER<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>What started as a self-imposed challenge of how many portraits he could make in a day became 90 faces photographed over three days. Now, it\u2019s the first chapter in a lifelong project. Street-cast in London with Coco Wu, these headshot portraits strip everything back. Printed as photopolymer gravures and installed as a dense constellation. Davison plans to repeat the process annually.<\/span><\/p>\n<p><a href=\"https:\/\/www.cobgallery.com\/exhibitions\/131-portraits-1416-november-jack-davison\/\"><em><span>Portraits: 14\u201316 November<\/span><\/em><\/a><em><span> runs 6 March \u2013 2 April 2026 at Cob Gallery, London, UK<\/span><\/em><\/p>\n<h1><em>GORDON PARKS: WE SHALL NOT BE MOVED<\/em>, LONDON, UK<\/h1>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"fe825866-5288-4fc0-bf08-b3fd00f016bf\" data-src=\"https:\/\/images-prod.dazeddigital.com\/1276\/azure\/dazed-prod\/1430\/9\/1439188.jpg\" data-img-aspect-ratio-type=\"square\" data-img-aspect-ratio=\"0.99\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"square\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Gordon Parks, We Shall Not Be Moved \" class=\"img\" height=\"1284\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1430\/9\/1439188.jpg\" width=\"1276\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"caption\">Department Store, Mobile, <span class=\"nowrap\">Alabama, 1956<\/span><\/span><span class=\"credit\">Archival pigment print 162.6 x 162.6 cm (64 x 64 in) \u00a9 The Gordon <span class=\"nowrap\">Parks Foundation<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Curated by Bryan Stevenson, this is a focused survey of Gordon Parks spanning 1942\u20131967. From <\/span><em>American Gothic, Washington, D.C.<\/em><span> to the 1963 March on Washington and his <\/span><em>Segregation in the South<\/em><span> series, Parks\u2019 camera operates exactly as he described it: a weapon against racism and poverty. Stevenson\u2019s curation sharpens the present-tense urgency of resistance, erasure, and civil rights under threat. What should be historical artefacts are instead documents of our time.<\/span><\/p>\n<p><a href=\"https:\/\/alisonjacques.com\/exhibitions\/gordon-parks-we-shall-not-be-moved\"><em><span>We Shall Not Be Moved<\/span><\/em><\/a><em><span> runs 5 March \u2013 11 April 2026 at Alison Jacques, London, UK<\/span><\/em><\/p>\n<h1><em>TRACEY EMIN: A SECOND LIFE<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Tate Modern stages the largest survey of <a href=\"https:\/\/www.dazeddigital.com\/tracey-emin\">Tracey Emin<\/a>\u2019s work to date, spanning four decades of confession, rupture, and return. <\/span><em><span>My Bed<\/span><\/em><span>, <\/span><em><span>Exorcism of the Last Painting I Ever Made<\/span><\/em><span>, early video works, and textiles sit alongside new bronzes and paintings shaped by illness, survival, and what Emin calls her \u201csecond life\u201d.\u00a0<\/span><\/p>\n<p><em><span>A Second Life runs 27 February \u2013 31 August 2026 at Tate Modern, London, UK<\/span><\/em><\/p>\n<h1><em>LINDSAY PERRYMAN: TOPS<\/em>, LONDON, UK<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Born from Perryman\u2019s own top surgery journey, <\/span><em><span>TOPS<\/span><\/em><span> moves from short film to photography to monograph. The images hold tenderness without softening the stakes. At the centre of <\/span><em><span>TOPS<\/span><\/em><span> is community. Framed by John Edmonds\u2019 poem <\/span><em><span>ON THE L<\/span><\/em><span>, scars become an archive, caregiving an act of survival, and trans-masculine vulnerability something fiercely visible.\u00a0<\/span><\/p>\n<p><em><span>TOPS runs 9 March \u2013 17 April 2026 at 10 14 Gallery, London, UK<\/span><\/em><\/p>\n<h1><em>VERENA BLOK: LOVE SHIT, AMSTERDAM<\/em>, NETHERLANDS<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Shaped by her own pregnancy and time working in a Dutch abortion clinic, Verena Blok turns her lens on reproduction. Full of contradictions: intimacy and autonomy, joy and grief, care and control, the images are shot on analogue 35mm and feature portraits of pregnant women, children, and couples alongside abstractions and diary fragments, bridging the personal to the political. At a moment when reproductive rights are increasingly fragile, Blok chooses to focus on the messy, embodied reality of choice.<\/span><\/p>\n<p><a href=\"https:\/\/www.foam.org\/press\/verena-blok-love-shit\"><em><span>Love Shit<\/span><\/em><\/a><em><span> runs 6 March \u2013 25 May 2026 at Foam, Amsterdam, Netherlands<\/span><\/em><\/p>\n<h1><em>EZEKIEL: SOMEWHERE BETWEEN A DOLL AND A DOG<\/em>, MARGATE, UK<\/h1>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"3c69029e-c569-44d8-bceb-b39c00d628f6\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1430\/1\/1431245.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.4\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Ezekiel, Somewhere between a dog and a doll, photo book\" class=\"img\" height=\"2143\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1430\/1\/1431245.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"credit\">Photography Ezekiel<\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>First profiled in <\/span><a href=\"https:\/\/www.dazeddigital.com\/art-photography\/article\/69125\/1\/ezekiel-somewhere-between-doll-dog-trans-portraits-masculinity-photo-book\"><span>Dazed last year<\/span><\/a><span> as \u201ca diasporic archive of transness\u201d, Ezekiel\u2019s <\/span><em><span>Somewhere Between a Doll and a Dog <\/span><\/em><span>now expands into an exhibition in Margate \u2013 a town currently represented by Reform UK. Shot over three years across the UK, the Philippines, Europe, and the US, the work moves through raves, prisons, bedrooms, and mythologies, tracing masculinity as something unstable and porous. Refusing Western binaries, Ezekiel builds a trans archive that is planetary, spiritual, and defiantly visible.\u00a0<\/span><\/p>\n<p><em><span>Somewhere Between a Doll and a Dog launches 21 March 2026 at CRATE, Margate, UK<\/span><\/em><\/p>\n<h1><em>OVEREXPOSED: ART, TECHNOLOGY, AND THE BODY<\/em>, NEW YORK, USA<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>From X-rays to endoscopies, <\/span><em><span>Overexposed<\/span><\/em><span> asks what it means to live in an age where the body is endlessly imaged, scanned, and rendered transparent. Bringing together historical medical artefacts, film, and installation, the exhibition tracks how technologies designed to diagnose and surveil have reshaped ideas of privacy, vulnerability, and control. Works by figures including Barbara Hammer and Ana Mendieta sit alongside 16 women and gender-expansive artists from 13 countries to reframe visibility as both power and exposure.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/movingimage.org\/event\/overexposed\/\"><em><span>Overexposed<\/span><\/em><\/a><em><span> runs 14 March 2026 \u2013 3 January 2027 at the Museum of the Moving Image, New York, USA<\/span><\/em><\/p>\n<h1><em>METRO54: PRACTISING FREEDOM AND REFUSAL, <\/em>AMSTERDAM, NETHERLANDS<\/h1>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Part of the wider <\/span><em><span>Sustaining the Otherwise<\/span><\/em><span> programme, <\/span><em><span>Practising Freedom and Refusal <\/span><\/em><span>shifts restitution beyond the return of objects and into the realm of memory, labour, and knowledge. Featuring AYO, Masimba Hwati, Christian Nyampeta, Adeju Thompson, and Helena Uambembe, the show treats artistic practice as a site where reparation is felt. Sound, textile, film, and sculpture ask what it means to refuse extractive systems, and what freedom looks like when built through intimacy, study, and care.\u00a0<\/span><\/p>\n<p><em><span>Practising Freedom and Refusal runs 27 February \u2013 24 April 2026 at Metro54, Amsterdam, Netherlands<\/span><\/em><\/p>\n<h1><em>SPECTROSYNTHESIS SEOUL<\/em>, KOREA<\/h1>\n<\/div>\n<div class=\"instagram-container embed-content\" data-embed-type=\"media-instagram\" data-script-depends=\"instagram-embeds\">\n<script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>South Korea\u2019s first major institutional exhibition dedicated to queer subjects arrives at Art Sonje Center this spring. Spectrosynthesis Seoul, presented by Sunpride Foundation in collaboration with Art Sonje Center, gathers over 70 LGBTQ+ artists and collectives, centring on the ideas of memory, place, and form across both local and international practices. With \u201ctrans\u201d as a core theme, the exhibition foregrounds the lives of queer people marginalised during Korea\u2019s rapid modernisation, tracing how bodies, identities, and communities have been rearticulated across time.<\/p>\n<p><em><a href=\"https:\/\/artsonje.org\/en\/exhibition\/spectrosynthesis-seoul\/\">Spectrosynthesis Seoul<\/a> is running from 20 March 20 until 28 Jun 2026 at Art Sonje Center.<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.dazeddigital.com\/art-photography\/article\/69763\/1\/arts-shows-eave-the-house-for-march-2026-london-nyc-la-margate-amsterdam&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/0-0-3000-2000\/azure\/dazed-prod\/1430\/1\/1431245.jpg&#8221;] Photography Ezekiel February\u00a0 27,\u00a0 2026 Art &amp; Photography \/ Lists Art &amp; Photography \/ Lists The best art and photography shows to see in March 2026 A replica Oval Office on a council estate, an exhibition in a cash and carry in Rochdale, an exploration of American mythologies held in an area [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1796319","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1796319","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1796319"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1796319\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1796319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1796319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1796319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}