From Left: Aigboje Aig-Imoukhuede, CFR, Chairman, Access Holdings Plc and Coronation Group; Ofovwe Aig-Imoukhuede, Co-Founder, Aig-Imoukhuede Foundation; and Ben Okri, Nigerian-born British Artist and Poet, at the celebration of the Nigerian Modernism legacy at Tate Modern in London, United Kingdom…Wednesday
Access Holdings Plc and Coronation Group hosted a private reception at Tate Modern, London, to celebrate the enduring legacy of Nigerian Modernism, one of the most significant presentations of African art in the gallery’s recent programme.
The Nigerian Modernism exhibition, in partnership with Tate Modern from October 10, 2025, to May 8, 2026, brought together nearly 300 works by more than 50 artists spanning five decades of Nigerian artistic production. Through painting, sculpture, textiles, ceramics, and works on paper, it traced the evolution of modern Nigerian art from the 1940s through the post-independence era, offering fresh perspectives on the political, social, and cultural forces that shaped modern African expression.
During its run, the exhibition attracted more than 180,000 visitors, while its reach extended far beyond the gallery through international media coverage, digital engagement, educational programming, and scholarly discourse that connected hundreds of millions of people worldwide with the story of Nigerian modern art.
Beyond its critical acclaim, Nigerian Modernism succeeded in democratising access to African art, creating opportunities for young people and members of the African diaspora to engage directly with African creativity, history and artistic expression at one of the world’s leading cultural institutions
The evening convened leading figures from business, culture, diplomacy, academia and the arts in recognition of the exhibition’s international impact and cultural significance
In his remarks, Aigboje Aig-Imoukhuede, CFR, Chairman of Access Holdings and Coronation Group, reflected on what he described as one of the exhibition’s most enduring achievements: its impact on young people.
“One of the aspects of this exhibition that stands out most for me is the opportunity we created for nearly 2,800 students, many of them of African heritage, to experience Tate Modern. While their encounters with the artworks could not be formally documented, the feedback we received spoke volumes. For many of these young people, the exhibition inspired a deeper appreciation of their heritage, reinforcing their sense of identity and pride in their African roots.”
Aig-Imoukhuede further underscored the exhibition’s broader diplomatic importance.
“I have long believed that great nations are built at the intersection of financial, knowledge and cultural capital. Of these, cultural capital is often the force that brings everything else together. We saw a powerful example of that when President Bola Ahmed Tinubu chose to include a private tour of Nigerian Modernism during his historic visit to London, alongside the thousands of Nigerians in the diaspora who came out to welcome him. It was a remarkable moment that demonstrated the unique role culture can play in strengthening national identity, global engagement and diplomacy.”
Karin Hinsbo, Interim Director of Tate Modern, emphasised the significance of the exhibition and the strength of the partnership behind it.
“Nigerian Modernism captivated hundreds of thousands of visitors. It was a story that had never been told in a UK gallery, an international network of 50 artists across 50 years, combining African and European traditions to create a powerful artistic legacy through 250 glorious works made up of painting, sculpture, textiles, ceramics, and works on paper. None of this would have been possible without the partnership, generosity, and commitment of Access Holdings and Coronation Group.”
The exhibition was widely recognised for challenging established art historical narratives by positioning Nigerian artists firmly within the global story of twentieth-century modernism. It also delivered extensive public programming, including lectures, tours and educational initiatives designed to deepen engagement with African art and identity.
A defining highlight of the exhibition was the inclusion of seven historic wooden sculptures by Ben Enwonwu, originally commissioned in 1960 for the Daily Mirror in London and now part of the Access Holdings Art Collection, underscoring the importance of cultural stewardship and cross-institutional collaboration.
Attendees reflected on the exhibition’s enduring legacy as a cultural milestone that expanded scholarship on African modernism, strengthened international partnerships and introduced Nigerian art to new global audiences. Although the exhibition has concluded, its influence continues to shape conversations around African creativity, heritage, modern identity and cultural diplomacy, reinforcing its position as a landmark moment in contemporary museum practice.
