Tate Britain's First Collection Rehang in a Decade Emphasizes Social History Over Aesthetic Value

Tate Britain has unveiled its first collection rehang in ten years, sparking criticism for prioritizing contemporary social and political themes over artistic merit. The new display, which replaces the 2013 chronological arrangement by former director Penelope Curtis, organizes British historical art around issues like postcolonialism, slavery, race, women's place, queer subjects, and migration. Specific galleries illustrate this approach: 'Troubled Glamour 1760-1830' links 18th-century portraits to empire and slave trade, while 'Revolution and Reform 1776–1833' includes John Singleton Copley's 'The Death of Major Peirson' primarily for featuring a Black rifleman. Works by George Romney, Thomas Gainsborough, and George Stubbs are framed through their connections to transatlantic commerce and labor exploitation. The rehang extends to postwar galleries, where 'Construction 1955–1965' ties neo-Constructivist art to postwar reconstruction and the Welfare State. Critics argue this 'zombie social art history' reduces art to illustrations of injustice, sidelining artists' own purposes and aesthetic criteria like beauty. The museum's effort to appeal to new audiences through identity politics raises questions about its relevance and the depth of its presentation of British art.