Critical Review of Tate Modern's 'Nigerian Modernism: Art and Independence' Exhibition

A critical essay by British-Nigerian artist Ayọ̀ Akínwándé examines the exhibition 'Nigerian Modernism: Art and Independence' at Tate Modern, which runs from 8 October 2025 to 10 May 2026. The essay argues that the exhibition's curatorial framework is fundamentally flawed, presenting a static and incomplete account of modern art in Nigeria. Key criticisms include the exhibition's chronological bracket of 1945 to 1995, which is seen as ignoring earlier historical developments such as the Berlin Conference of 1884-85 and the looting of Benin artworks in 1897. The review highlights curatorial inconsistencies, including ethnographic display methods, incomplete research, and the exclusion of key artists and lineages, such as the Fakeye woodcarving family and many figures from Nigeria's formal art schools. The exhibition is organized into nine galleries, covering artists and movements like Ben Enwonwu, Ladi Kwali, the Zaria Art Society, Lagos (Eko), the Osogbo School, the Nsukka School, and Uzo Egonu. However, the essay notes that the display often lacks coherence, with issues like poor lighting, crowded installations, and a failure to adequately contextualize works within broader historical and cultural narratives. The exhibition is supported by Nigerian institutions, including Access Holdings, but the critique questions why it did not originate in Nigeria first. Overall, the essay concludes that the exhibition fails to capture the richness and continuity of Nigerian modernism, instead reinforcing Eurocentric perspectives.