Arts and Crafts pottery maker William De Morgan (1839–1917) and Pre-Raphaelite painter Evelyn De Morgan (1855–1919) lived in harmony as married artists in Victorian England. A power couple, they encouraged one another’s creative pursuits and engaged in the social issues of their day. William De Morgan created brilliantly colored tiles, pots and plates with distinctive, shimmering lustre-ware surfaces. Evelyn De Morgan took inspiration from Botticelli to create richly symbolic paintings of modern subjects.

Croatian-born artist Dora Budor’s first institutional exhibition in the United Kingdom features a series of newly commissioned works concerned with techniques of the built environment and the various forms of psychosocial control induced by it. Inherent to this is the development of ‘pastoral power’ as an individualising and totalising force that continues to shape the social body. In the UK, this infers the historical development of enclosures of common agricultural land; to the development of 19th-century utilitarian architecture and a welfare state designed to improve the moral character of the social body; to present-day strategies of urban renewal and beautification, privatisation of public land, and the proliferation of hostile architecture. Proceeding from the formal language of sculpture, states of intoxication, disobedience and transience are met with states of safety, moralisation, well-being and protection, and re-encoded into works that both index and subvert the forms in which they are found.

A rich diversity of artistic approaches existed in Brazil in the decades around the mid-twentieth century, after the first modernist wave had settled. This exhibition finds conversations between various forms of abstraction, symbolism and figuration that were circulating and interacting in the visual culture of that time.

The first London retrospective of British artist Linder will offer an illuminating overview of the past fifty years of the artist’s career, exploring the full range of her thought-provoking work, and underscoring the experimental and feminist impulses of her practice. This exhibition will display a selection of Linder's trailblazing photomontages as well as previously unseen works and new commissions.

Beyond Form: Lines of Abstraction, 1950–1970 is a group exhibition presenting abstraction as a radical global language shared by women artists in the twenty years following World War II. The exhibition will bring together the works of more than fifty artists to examine how, through abstract forms, materials and modes, women pushed the boundaries of art making while tackling seismic cultural, social and political shifts. Comprising over eighty artworks, predominantly sculpture, the exhibition will trace how the language of abstraction developed on a global scale. The exhibition will include sculptures by Mária Bartuszová, Louise Bourgeois, Eva Hesse and Hannah Wilke. It will highlight Marisa Merz’s Living Sculpture (1966), a piece realised within the intimate confines of a domestic space before the artist had a studio. It will also explore Carla Accardi and Marta Pan’s innovative use of modern materials to redefine space and perception. The fibre art of Maria Teresa Chojnacka and Ewa Pachucka will also be featured, symbolising resistance and liberation from state censorship or monitoring.