The long-awaited Nigerian Modernism art exhibition is finally here. Showing at the Tate Modern since Wednesday 8 October 2025, the energetic, large-scale show is the UK’s first exhibition charting the development of modern art across Nigeria and its diaspora.
Opening against the backdrop of Nigeria’s 65th independence anniversary and UK Black History Month, the show is an important celebration of a lesser-heralded contribution of Nigerian artists to art history, for all art and culture enthusiasts to enjoy.
Visitors can experience 250 diverse works from over 50 artists. These talents used their unique creative capabilities to respond to Nigeria’s shifting socio-political landscape during the mid-20th century.
The exhibition timeline starts in 1940, amidst Africa’s simmering decolonisation movement. Ending with the 1980s, the show displays works created during pivotal points in Nigeria’s history, from the optimism of independence in 1960 and the ensuing economic boom, to the devastation of the civil war from 1967, to the expansion of a global diaspora towards the turn of the millennium.
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Visitors can expect varied art forms, from the patterned ceramics of renowned potter Ladi Kwali, to the resonant portrait painting of arts educator Aina Onabolu and the frenetic, sinuous brushstrokes of modern art pioneer Ben Enwonwu, as well as sculptures and textiles. Many pieces merge indigenous creative practices with European techniques, demonstrating the breadth of Nigerian artistic tradition. Indeed, with around 250 ethnic groups and approximately 500 languages, Nigeria boasts a rich cultural legacy, dating back to the Iron Age, as evidenced by the terracotta Nok sculptures.
I spoke with Osei Bonsu, Curator of International Art at Tate Modern and curator of this seminal exhibition, to discuss the show’s ambitions, construction, and significance.
What is special and unique about this exhibition?
“What’s important and unique about the show is how it celebrates artists who transformed modern art in Nigeria by driving forward an independent vision of Nigerian modernity, and also how it reveals the extraordinary contributions of Nigerian artists to art history generally.
Historically, we haven’t had much language for this period of artistic development, as modern art in Nigeria wasn’t widely explored in depth. But this exhibition is an attempt to draw connections tying together key moments in Nigeria’s past, and to bring questions around Nigerian artistry during this time period to light.”
What does Nigerian modernism mean to you?
“To me, Nigerian modernism is about how these artists fashioned their own ways to fulfil their desire to be modern. They weren’t always strictly conforming to other modern art movements spreading through Europe, such as cubism or surrealism.
These artists were asking critical questions about the state of contemporary society around them. We see their determination to tell contextualised stories on Nigerian perspectives. Stories connected to everything from political independence to everyday life. I think there’s something incredibly modern about innovating through wood carving, textile, pictorial representation and other mediums, alongside world-changing developments like pan-Africanism and decolonisation.”
What do you hope visitors will take away from this exhibition?
“I hope visitors feel inspired by the wealth of artistic perspectives represented in the exhibition.
Nigeria is a multicultural, multi-ethnic nation, so the artwork reflects that. The artists exhibited celebrate their own cultural heritage in pioneering ways. Therefore, I hope visitors take away a sense of that diversity. I also hope they feel encouraged to reflect upon their own heritage, regardless of whether they are Nigerian or African.
Some works also explore the role of religion and spirituality in society, or the relationship between art and politics. So visitors can reflect on how these subjects are still pertinent today, too.”
What are some key themes emerging across the exhibition?
“We see many themes, including dance, masquerade and cultural celebration – often delving into the ancestral realm. Many Nigerian societies have traditions around honouring ancestral beings. For example, Ben Enwonwu illustrates the ceremonial power of the traditional African masquerade.
Another important theme is theatre. There’s a room dedicated to dramatist Duro Ladipo, who revived Yorùbá popular theatre traditions in the 1960s. Through his theatre school, many artists became engaged with Yorùbá folklore and brought that into their art.
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Another critical narrative is the role of women. The show spotlights figures like Clara Ugbodaga-Ngu, one of the first Nigerian and female artists to teach on Nigeria’s first art diploma at the Nigerian College of Arts, Science and Technology. She was also one of the first Nigerian artists to be educated in the UK, joining the Chelsea School of Art in 1950. She influenced a generation of male artists but remains a lesser-known figure from that time period. We wanted to look at the sometimes marginalised contributions of women artists to Nigerian art.”
Are there any particular works or artists you’re especially excited about?
“There are so many! Ben Owonwu is a key figure I’m excited for audiences to learn more about. He mediated between his European education from Goldsmiths and Slade art colleges, and the notions of pan-Africanism and negritude he was introduced to around the 1940s-50s, understanding the need for black cultural pride in his work.
He was inspired by Igbo masquerade tradition, for instance the Ogolo spirit is a figure he returned to throughout his practice.
Another important artist is Uche Okeke. He developed the ‘natural synthesis’ theory (synthesising European techniques and traditional art forms) followed by the Zaria Arts Society in northern Nigeria from the 1950s. They were interested in decolonising the art curriculum, using art to tell stories about Nigeria’s cultural heritage at a time when colonial education systems deprioritised indigenous ways of life.
Uche Okeke’s exhibited painting called Primaeval Beast is an important example of this, drawing from native folklore.”
Why did you choose to cover this specific 50-year time period?
“Modern African art exhibitions often begin with independence, but African artists were finding innovative ways to assert self-agency and question political structures before then, so it was important to tell a fuller story.
This timeline also allows us to look at how Nigerian art reached international audiences, such as through colonial arts patronage programmes. It also means we can explore how art was used as a tool for political contestation – for example, in critiquing the Nigerian state, especially in the context of civil war in the late 1960s.
The exhibition had to touch on all of these events to be an inclusive narrative - there isn’t just one story to tell, but many connected ones.”
What were some of the biggest challenges you had to overcome to deliver this exhibition?
“The show comes after about three years of research, though the groundwork was laid much before that. It was really exciting seeking out works that haven't been seen before. But locating works that speak to this profound art history (that hasn’t been presented on such a public platform before) was definitely a challenge, as was ensuring that the works were fit to be displayed. We partnered with the new Museum of West African Art in Benin City to assist with the conservation of pieces coming from Nigeria – that was instrumental to realising a show of this scale and ambition.”
Why is this exhibition important now?
“Though not often documented, the contribution of its Nigerian diaspora is a critical part of what makes London such a dynamic city. So the exhibition is about celebrating the cultural links between Britain and Nigeria that still thrive today.
It’s also important to show how Nigerian artists contributed to Black cultural pride and consciousness.
In today’s international world, it's also necessary to highlight that these artists are part of a global art story. Some of them moved between intellectual networks across London, Paris, Germany and the US from as early as the 1920s. The concept of a developing diaspora is a constant throughout the exhibition. For example, it highlights Uzo Egonu. He moved to the UK to study art at age 13 at Camberwell School of Arts and Crafts, but his work reflected Igbo practices such as uli (intricate body and wall marking designs). The show is relevant for audiences today because it connects to contemporary ideas about diaspora and outlines how Nigerian artists became part of a global dialogue.”
Nigerian Modernism is showing at the Tate Modern until 10 May 2026, £18, concessions available. tate.org.uk.