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From atmospheric abstraction to psychologically charged painting, Five Exhibitions To See In London In March 2026 sharpen the city’s contemporary art focus this spring.
This March captures a moment when the capital’s contemporary art scene feels both self-assured and searching. Across leading institutions and independent galleries, artists recalibrate abstraction, test perception and reconsider the psychological stakes of painting. For those tracking art exhibitions in London, the month offers a concentrated view of where contemporary art now finds itself: structurally restless, conceptually alert and materially ambitious.
What unites our Five Exhibitions To See In London In March 2026 is less a shared aesthetic than a shared pressure placed upon form. Grids loosen, landscapes dissolve, biomorphic figures resist fixed meaning. From established artists consolidating their position to emerging artists extending the language of abstraction, these exhibitions describe a city attuned to risk, inquiry and reinvention.
At Saatchi Gallery, Anna Liber Lewis: Spectral Interference marks a decisive shift in the London-based painter’s practice. Presented by Hannah Payne Art, the exhibition introduces a new body of work that departs from her earlier grid-based compositions, strengthening her position within contemporary abstract painting in London.
Where previous works were anchored by linear systems and formal restraint, these canvases relinquish the grid in favour of a more elastic architecture. Order persists, but it is provisional. Structure becomes interruptible, thinned, at times brought close to collapse. Across varying scales, Liber Lewis treats abstraction as a site of negotiation, where embodiment and perception remain in productive tension.
Julian Lombardi’s The Global Carnival situates biomorphism in purgatory; his paintings unfold within what might be described as the present’s psychic fracture, wagering abstraction’s capacity to yield clarity. Picture planes operate as porous thresholds, inviting entry into intensely charged interior worlds. Consciousness becomes terrain: atmospheric forms erupt and recombine across hyper-saturated fields of colour that suggest rapturous skies, dream-like architectures and shifting, otherworldly topographies. These protean forms refuse stable symbolism; instead, they oscillate between the subconscious and the social, proposing that interior life is inseparable from lived reality. The result is abstraction held in the present tense, alert to both vulnerability and spectacle.
At Tache, Introspect presents the debut solo exhibition of 14 new and recent paintings by Canadian-British artist Breanna Gordon. The exhibition positions Gordon within a rising generation of contemporary painters addressing mental health not as motif, but as lived condition. For Gordon, painting functions as a form of reckoning and repair, situating her practice within an expanding cultural discourse around the therapeutic dimensions of making and experiencing art. Her work resists sentimentality; instead, it insists on candour and formal clarity.
In MIN WOO NAM: THE AFTERMATH, paintings titled after My Khe Beach in Vietnam hover between abstraction and landscape, coaxing viewers into moments of pareidolia in which horizons, mist and water appear only to dissolve. Created with hand-ground Renaissance pigments and shaped by contingent conditions such as humidity, dust, drying time and abrasion, the works treat atmosphere not as depiction but as residue.
Drawing upon his background in mathematics, Nam balances proportional structure with “acausal” events he links to Jung’s synchronicity, allowing unforeseen separations, bleeds and harmonies to feel inevitable rather than accidental. The encounter unfolds slowly: the eye seeks orientation, secures it briefly, then watches it recede into sensation. It is a measured contribution to ongoing debates around landscape, perception and material process in modern art.
Next up on our Five Exhibitions To See In London In March 2026 list, is Opera Gallery’s, Dreaming in Colour gathers more than 20 emerging artists from Europe, Asia, Africa and the Americas, signalling an expanded commitment to the next generation of contemporary art. Arriving just over a century after the birth of Surrealism, the exhibition revisits the dream as both subject and method. Across the 20th and 21st centuries, artists have returned to the unconscious as a site of resistance and invention. Opera Gallery has long championed figures such as Marc Chagall, Niki de Saint Phalle and Yayoi Kusama, for whom colour, fantasy and psychic intensity were central concerns. Dreaming in Colour extends that lineage while recalibrating it for a globalised present.
Taken together, our Five Exhibitions To See In London In March 2026 underline London’s standing within contemporary art. These exhibitions do more than fill the calendar; they examine the structural and emotional range of art as it is practised now. For collectors, curators and engaged audiences, they present a clear view of a scene confronting uncertainty without losing momentum.
Anna Liber Lewis: Spectral Interference
Saatchi Gallery announces Spectral Interference, a major solo exhibition by London-based painter Anna Liber Lewis, presented by Hannah Payne Art. The exhibition introduces a new body of work that departs from the artist’s earlier grid-based compositions, advancing her position within contemporary abstract painting in London.
Where earlier works were anchored by linear systems and formal restraint, these new paintings relinquish the grid in favour of a more elastic structure. Order remains, but it is provisional. Structure becomes something that can be interrupted, thinned, or brought close to collapse. Across canvases of varying scale, Liber Lewis stages abstraction as a site of instability, where embodiment and perception are continually tested.
Anna Liber Lewis: Spectral Interference Presented by Hannah Payne Art
27th March, 2026 – 6th May, 2026
Saatchi Gallery
Duke of York’s HQ
King’s Road
London
SW3 4RY
Julian Lombardi: The Global Carnival
Julian Lombardi situates biomorphism in purgatory; His paintings are staged within the present’s psychic break, wagering abstraction’s potential to provide clarity.
Picture planes act as porous thresholds, daring viewers to enter deeply personal, charged worlds. Consciousness itself is a landscape: atmospheric forms erupt into being and recombine across hyper saturated fields of color that manifest rapturous skies, dream-like architectures, and shifting, otherworldly terrains. Protean forms do not resolve into stable symbols, instead, they relentlessly morph between the subconscious and the social, suggesting that our interior lives are inseparable from waking realities: abstraction in the present tense.
Julian Lombari: The Global Carnival
5th March, 2026 – 29th March, 2026
Carl Kostyál
Saville Row
London
See also
Breanna Gordon: Introspect
Tache presents Introspect, the debut solo exhibition of 14 new and recent paintings by Canadian-British artist Breanna Gordon (b. 1999), on view from 6 March to 9 April 2026. The exhibition situates Gordon within a rising generation of contemporary painters addressing mental health not as theme alone, but as lived condition. For Gordon, painting operates as a form of reckoning and repair, aligning her practice with a broader cultural dialogue around the therapeutic dimensions of making and experiencing art.
Breanna Gordon: Introspect
6th March, 2026 – 9th April 2026
Tache
Fitzrovia
London
MIN WOO NAM: THE AFTERMATH
In MIN WOO NAM: THE AFTERMATH, the artist’s paintings, titled after My Khe Beach in Vietnam, hover between abstraction and landscape, coaxing viewers into moments of pareidolia where horizons, mist and water seem to appear and dissolve. Made with hand-ground Renaissance pigments and shaped by contingent conditions—humidity, dust, drying time, abrasion—the works treat atmosphere not as depiction but as residue. Informed by Nam’s background in mathematics, the canvases balance proportional structure with “acausal” events he links to Jung’s synchronicity, allowing unforeseen separations, bleeds and harmonies to feel inevitable. What results is a slow, destabilizing encounter: the eye searches for orientation, finds it briefly, then watches it slip back into sensation.
Min Woo Nam: The Aftermath
20th February, 2026 – 19th March, 2026
LBF Contemporary
13 Tottenham Mews
London
W1T 4AQ
Dreaming in Colour
Opera Gallery London announces Dreaming in Colour, on view from 5 March to 6 April 2026. Bringing together more than 20 emerging artists from across Europe, Asia, Africa and the Americas, the exhibition signals a notable expansion in the gallery’s engagement with the next generation of contemporary art.
Arriving just over a century after the birth of Surrealism, the exhibition revisits the idea of the dream as both subject and method. Throughout the 20th and 21st centuries, artists have returned to the unconscious as a space of resistance and invention. Opera Gallery has long championed figures such as Marc Chagall, Niki de Saint Phalle and Yayoi Kusama, for whom colour, fantasy and psychic intensity were central concerns. Dreaming in Colour extends that lineage, reframing it through the work of artists emerging today.
Dreaming in Colour
5th March, 2026 – 6th April, 2026
Opera Gallery London
65 – 66 New Bond Street
W1S 1RW
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