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For the February 2025 Art Diary, I begin with exhibitions by artists I’ve followed and whose work I’ve written about. These include Peter Howson, Jonathan Anderson, Barbara Hepworth and Theaster Gates.

Installed by the artist over the month preceding its opening, this exhibition draws us into a manifold landscape of fragility and contingency

As we approach Christmas, artist monographs are increasingly appearing on the market, so I begin the October Art Diary with several, which are also linked to launch exhibitions.

Blum & Poe, Perrotin, Almine Rech, and Sadie Coles are among the new fair's 79 arboreally arranged exhibitors.

Frieze has revealed the exhibitor list for its first Seoul fair, which is set to run from September 2–5. With 110 galleries participating, the Seoul fair is set to be bigger than both Frieze's New York and Los Angeles editions.

Like an overgrown Cinderella, a woman in a girlish puff-sleeved dress sweeps up the detritus of contemporary homelife: Coke cans, wine bottles, shoes.

To a working mother who accomplishes an insane number of tasks on a daily basis, the energy in Vanessa Baird’s drawings will read as very familiar.

Even the quiet moments are disturbing in the Norwegian artist’s debut UK show, which bursts with grotesque scenes of claustrophobic household life

With 27 participating galleries, agility comes easily to S.E.A. Focus (22–31 January 2021), which embraces a hybrid format this year.

As the world around us seems to be departing ever further from the realms of normality, an exhibition devoted to artists making work guided by inexplicable forces beyond their rational control seems especially topical.

Opening on 4 November, the centre, which is part of the city's National Art School, is modelled on the the Drawing Centre in New York and London’s Drawing Room

Painters who communed with the paranormal were often pushed to the fringes – but in recent times, from #witchtok to lockdown hauntings, mainstream culture has taken a decidedly spooky turn

Not Without My Ghosts demonstrates the way mediumistic art practices unsettle the narratives of Modernism, specifically in relation to automatism and the development of abstraction.

Once upon a time in modernism, the interlacing of art and religion was rendered invisible. Art was not just for art’s sake but was exclusively about art.

From a seance with a museum in space to Victorian spectres and an artist more depraved than Aubrey Beardsley, this fascinating celebration of ethereal forces keeps wrecking the spooky mood