Access Holdings Plc and Coronation Group have celebrated the international success of the Nigerian Modernism exhibition at Tate Modern in London, saying the landmark showcase has elevated Nigerian art on the global stage while inspiring thousands of young people of African heritage.

The exhibition, which ran from 10 October 2025 to 8 May 2026, brought together nearly 300 works by more than 50 Nigerian artists, tracing the development of modern Nigerian art from the 1940s through the post-independence period.

Organisers said the exhibition attracted more than 180,000 visitors during its seven-month run and reached hundreds of millions more through media coverage, digital platforms, educational programmes and academic discussions.

Why it matters

The exhibition is regarded as one of the most significant international showcases of Nigerian art in recent years, highlighting African artists within the broader history of twentieth-century modernism.

Supporters say it also widened access to African art by creating opportunities for young people, students and members of the African diaspora to engage with Nigerian history, creativity and identity at one of the world’s leading museums.

To mark the exhibition’s success, Access Holdings and Coronation Group hosted a private reception at Tate Modern, bringing together business leaders, diplomats, academics, artists and cultural figures.

Access Holdings highlights impact on young people

Speaking at the event, Chairman of Access Holdings and Coronation Group, Aigboje Aig-Imoukhuede, said one of the exhibition’s greatest achievements was its effect on younger visitors.

“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.”

He also argued that culture plays an important role in national development and international relations.

“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.”

Tate Modern praises partnership

Karin Hinsbo, Interim Director of Tate Modern, described the exhibition as an important milestone for the gallery and credited the partnership with Access Holdings and Coronation Group for making it possible.

“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.”

Experts say African art is gaining global recognition

Art historians have increasingly argued that African artists deserve greater recognition within global narratives of modern art, with museums across Europe and North America expanding exhibitions dedicated to African creativity.

The Nigerian Modernism exhibition contributed to that conversation by presenting decades of Nigerian artistic innovation alongside international developments in twentieth-century art, while encouraging new research and scholarship.

Cultural diplomacy and national identity

A notable feature of the exhibition was the display of seven historic wooden sculptures by renowned Nigerian artist Ben Enwonwu. The works, originally commissioned in 1960 for the Daily Mirror in London and now part of the Access Holdings Art Collection, highlighted the importance of preserving Nigeria’s artistic heritage through institutional collaboration.

Organisers said the exhibition also delivered lectures, guided tours and educational programmes designed to deepen public understanding of African art and identity.

Industry reaction

Cultural institutions have increasingly embraced partnerships between museums and private organisations to expand access to art, preserve cultural heritage and support international exhibitions.

Observers say initiatives such as Nigerian Modernism demonstrate how public-private collaboration can help introduce African artists to wider audiences while strengthening cultural ties between Nigeria and the rest of the world.

What’s next?

Although the exhibition has officially closed, organisers believe its legacy will continue through ongoing academic research, international partnerships and growing global interest in Nigerian and African modern art.

They say its influence is expected to shape future conversations on creativity, heritage, museum practice and cultural diplomacy for years to come.

Arts journalists have been challenged to embrace artificial intelligence responsibly, strengthen ethical reporting standards and play a more active role in documenting Africa’s cultural history during a two-day international workshop held in Lagos.

The workshop, titled “New Narratives and Singular Communication in Arts Journalism: The Museo del Prado Experience,” took place on June 10 and 11 at the Yemisi Shyllon Museum of Art.

It was organised by the Yemisi Shyllon Museum of Art (YSMA), Pan-Atlantic University and the Spanish Embassy in Abuja, in collaboration with Casa Africa’s #PeriodismoÁfrica programme and the Museo del Prado.

The event brought together journalists, academics, artists, museum professionals and media experts to examine the future of cultural journalism in an era increasingly shaped by technology, globalisation and digital media.

Why Arts Journalism Matters

One of the key sessions, led by art historian Dr Jess Castellote, explored the structure of Nigeria’s art ecosystem and the influential role journalists play within it.

The presentation examined how artists, museums, collectors, curators, galleries, critics and government institutions collectively shape the art market.

However, Castellote argued that journalists occupy a particularly powerful position because they influence which artists gain visibility, recognition and long-term historical relevance.

He noted that media coverage often determines whose stories are preserved and whose contributions risk being forgotten.

According to the presentation, the Nigerian art market faces challenges including limited institutional infrastructure, fragmented markets and a heavy dependence on private collectors rather than public museums.

Participants were reminded that arts journalism goes beyond reporting exhibitions and events; it contributes directly to the historical record that future generations will use to understand contemporary culture.

AI Creates New Opportunities — And New Risks

A practicum session on digital tools and artificial intelligence, led by Dr Nwachukwu Egunike, focused on how journalists can responsibly integrate AI into their work.

Research presented during the session found that most African newsrooms have yet to adopt AI technologies on a large scale.

The study, which examined journalists in Nigeria, Ghana, Kenya, Tanzania and The Gambia, identified concerns about job displacement, editorial independence and the loss of cultural nuance in AI-generated content.

Participants heard that journalists now face a dual responsibility: producing stories while also understanding and interpreting the algorithms increasingly influencing news production.

Dr Egunike argued that AI should complement rather than replace human judgement.

The session highlighted tensions between efficiency and ethics, automation and editorial voice, and the dominance of Western-trained AI models versus local cultural realities.

Among the recommendations were transparency in AI use, disclosure of AI-assisted content and greater emphasis on identity-driven journalism rooted in local knowledge and experience.

Journalists Are ‘Makers of History’

A panel discussion featuring Dr Ike Obiaya, Dean of the School of Media and Communication, Sunshine Alaibe of Art Report Africa and artist Wale Alimi examined ethics and responsibility in cultural journalism.

The panelists agreed that arts journalists serve as custodians of history.

Reflecting on the long-term impact of media coverage, Alaibe said: “You are makers of history.”

She stressed that future researchers, artists and cultural practitioners will rely on today’s reporting to understand how the art world evolved.

The discussion repeatedly returned to concerns about superficial reporting and the growing pressure to prioritise clicks over substance.

Dr Obiaya argued that cultural journalism should provide context rather than simply describe events.

“It’s not enough to say people are trying out fantastic outfits and they look beautiful. That doesn’t say anything. It’s an insult to that festival because it’s much more than that,” he said.

The panel also addressed the risk of misrepresenting artists’ work.

Wale Alimi urged journalists to spend more time understanding artists and their creative processes before publishing stories.

“I don’t think any journalist should write about an artist without understanding the work process,” he said.

He warned that reliance on gallery statements without independent research often leads to misunderstandings and inaccurate narratives.

Balancing Ethics and Commercial Pressures

Another major theme was the challenge of maintaining editorial independence in Nigeria’s relatively small and interconnected art industry.

Panelists acknowledged that journalists often navigate relationships with galleries, collectors and artists while still being expected to provide objective coverage.

Alaibe argued that critical journalism is necessary for the sector’s growth and maturity.

“We are inviting writers who have audacity to tell the story as it is,” she said, adding that accountability remains essential for a healthy cultural ecosystem.

The discussion also explored new business models for arts journalism, including reader-supported subscriptions and independent publishing platforms that reduce dependence on promotional content.

Museo del Prado Shares Lessons in Digital Storytelling

A highlight of the workshop was a case study from Spain’s Museo del Prado, presented by Carlos Chaguaceda and Jean Tussell.

The presentation examined how one of the world’s most respected museums has transformed its communication strategy through social media and digital engagement.

According to the speakers, the museum’s philosophy combines “repetition and surprise” — consistent content that builds audience loyalty alongside creative campaigns designed to generate widespread attention.

One example involved inviting the King of Spain to participate in the museum’s 1,000th Instagram Live broadcast, a move that generated extensive media coverage.

Another campaign successfully used social media to locate a painting that had been missing for two decades.

The presenters argued that successful communication should extend beyond an organisation’s own platforms.

“Any action we put on our social media should achieve relevance outside our social media because if not, we are not doing good communication,” Chaguaceda said.

The museum also highlighted the importance of authenticity in brand collaborations, noting that partnerships are only pursued when they align with institutional values and historical narratives.

Casa Africa Pushes for Better Coverage of Africa

Representatives of Casa Africa outlined ongoing efforts to improve international reporting on African issues and challenge persistent stereotypes in Western media.

The organisation runs journalism training programmes across Africa covering subjects such as climate change, health reporting, gender-based violence, digital security, misinformation and election coverage.

Casa Africa also monitors daily international media coverage of Africa and shares curated information with journalists and diplomatic missions.

Its objective is to encourage reporting that reflects the continent’s complexity and diversity rather than focusing predominantly on conflict and humanitarian crises.

What Happens Next?

The workshop concluded with a call for stronger collaboration between journalists, artists, museums and educational institutions.

Participants agreed that arts journalism must evolve alongside technology while remaining committed to truth, context and cultural understanding.

As artificial intelligence, digital platforms and global audiences reshape media landscapes, speakers argued that journalists have an even greater responsibility to document culture accurately and preserve the stories that will define future generations’ understanding of Africa’s creative industries.

The Yemisi Shyllon Museum of Art (YSMA) at Pan-Atlantic University has announced that admission will become free for all visitors from 15 June 2026, marking a significant shift in public access to art and culture in Nigeria.

The initiative is being funded by renowned art collectors and philanthropists Aisha and Gbenga Oyebode, who have committed to supporting the programme for an initial three-year period.

Museum officials say the decision is designed to remove financial barriers that may prevent people from engaging with Nigerian art, while encouraging wider participation in cultural, educational and tourism activities.

The move is the first free-admission initiative of its kind since the museum was established and comes as Lagos continues to position itself as a major cultural and tourism destination in Africa.

Why it matters

Museums across the world increasingly use free admission programmes to widen access to culture, attract new audiences and strengthen educational engagement.

For Nigeria, where access to cultural institutions can be limited by cost, distance or awareness, the initiative could help introduce more students, families, researchers and young creatives to the country’s artistic heritage.

The museum said it expects the programme to increase visitor numbers while reinforcing its role as a centre for learning, tourism, scholarship and public engagement.

The decision also reflects growing efforts within Nigeria’s cultural sector to make arts institutions more inclusive and accessible.

Museum director welcomes milestone

YSMA Director Jess Castellote described the development as a major moment for the institution.

“This is an important moment in the history of YSMA,” he said.

“Making the museum freely accessible to the public removes an important barrier between people and culture. It allows more students, families, young creatives, researchers, tourists, and everyday visitors to encounter Nigerian art in meaningful ways.”

“We are deeply grateful to Mr. and Mrs. Gbenga Oyebode for their generosity and vision in supporting an initiative that aligns perfectly with the museum’s mission of accessibility, education, and public service.”

The museum houses one of Nigeria’s most significant collections of art and has become a notable destination for exhibitions, educational programmes and research since opening in 2019.

Oyebodes: Art should be accessible to everyone

Explaining their support for the programme, Aisha and Gbenga Oyebode said museums play an important role in education, civic engagement and cultural preservation.

“Museums are spaces of knowledge, reflection, and human connection,” they remarked.

“Supporting free public access to YSMA is about ensuring that more people, especially young Nigerians, can experience the richness of our artistic and cultural heritage without limitations.”

“The museum has already established itself as one of the country’s most important cultural institutions, and we believe initiatives such as this are essential to building a stronger culture of engagement with the arts in Nigeria.”

Their support comes at a time when private philanthropy is playing an increasingly visible role in funding cultural and educational initiatives across the country.

Boost for Lagos tourism and creative economy

The announcement also aligns with broader efforts to strengthen Lagos’ tourism sector.

YSMA recently engaged with the Nigerian Association of Tour Operators (NATOP) and the Eko Tourism Foundation (ETF) as part of efforts to increase its visibility within the state’s tourism ecosystem.

Located within the rapidly developing Ibeju-Lekki corridor, the museum is expected to attract more local and international visitors as admission barriers are removed.

Tourism stakeholders say increased museum attendance can generate wider economic benefits, including spending on transportation, hospitality, food services and other cultural attractions.

As Lagos seeks to expand its reputation as a global centre for creativity and culture, easier access to major institutions such as YSMA could help strengthen the city’s appeal to visitors and residents alike.

What happens next?

Free admission will officially begin on 15 June 2026.

Museum officials say the programme will run for an initial three years under the sponsorship arrangement and is expected to significantly increase visitor participation across a wide range of demographic groups.

For students, researchers, families and tourists, the change means one of Nigeria’s most important art collections will now be accessible without an entry fee.

The museum says the initiative reinforces its founding mission of making art available to all while strengthening the role museums play in Nigeria’s social and cultural development.