News Highlights:
- The Nigerian Modernism exhibition at Tate Modern attracted more than 180,000 visitors and showcased nearly 300 works by over 50 Nigerian artists.
- At a private reception marking the exhibition’s success, Chairman Access Holdings and Coronation Group Aigboje Aig-Imoukhuede highlighted its role in inspiring nearly 2,800 students.
Access Holdings Plc and Coronation Group have celebrated the global success and lasting legacy of the landmark Nigerian Modernism exhibition with an exclusive reception at Tate Modern, London, bringing together influential figures from business, diplomacy, academia, culture and the arts to reflect on one of the most significant presentations of African art in the gallery’s recent history.
The reception marked the conclusion of the acclaimed exhibition, which ran in partnership with Tate Modern from October 10, 2025, to May 8, 2026, and showcased nearly 300 works by more than 50 artists spanning five decades of Nigerian artistic production.
Through paintings, sculptures, textiles, ceramics and works on paper, the exhibition 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 artistic expression.
During its seven-month run, Nigerian Modernism attracted more than 180,000 visitors, while its influence extended far beyond the gallery through international media coverage, digital engagement, educational programmes and scholarly discourse that connected hundreds of millions of people worldwide with the story of Nigerian modern art.
Beyond earning widespread critical acclaim, the exhibition also succeeded in democratising access to African art by 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 foremost cultural institutions.
Speaking at the reception, Chairman of Access Holdings and Coronation Group, Aigboje Aig-Imoukhuede, described the exhibition’s impact on young people as one of its most enduring achievements.
“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 also highlighted the exhibition’s broader significance as a tool for cultural diplomacy and nation-building.
“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.”
Interim Director of Tate Modern, Karin Hinsbo, said the exhibition broke new ground by presenting a story that had never before been told in a UK gallery.
“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 received widespread recognition for challenging established art historical narratives by positioning Nigerian artists firmly within the global story of twentieth-century modernism. It also featured an extensive programme of lectures, guided tours and educational initiatives designed to deepen public engagement with African art, identity and history.
One of its defining highlights was the display of seven historic wooden sculptures by Ben Enwonwu, originally commissioned in 1960 for the Daily Mirror in London and now housed in the Access Holdings Art Collection. Their inclusion underscored the importance of cultural stewardship, preservation and collaboration between institutions.
Guests at the reception reflected on the exhibition as a landmark cultural achievement that expanded scholarship on African modernism, strengthened international partnerships and introduced Nigerian art to new global audiences.
Although Nigerian Modernism has concluded its run at Tate Modern, its influence continues to shape global conversations around African creativity, cultural heritage, modern identity and cultural diplomacy, reinforcing its status as a defining moment in contemporary museum practice.
