Opening on 26 March 2026, Tate Britain will stage the first major survey of Hurvin Anderson, bringing together around 80 works to chart three decades of the British painter’s career. Running until 23 August, the show foregrounds Anderson’s exploration of memory, place and belonging, shaped by his Jamaican heritage and upbringing in Birmingham, as well as time spent working in Trinidad. His colour-saturated landscapes and interiors weave between the Caribbean and the UK, reflecting what he has described as being “in one place but thinking about another”.

Early paintings, family photographs and portraits in the show, including Bev (1995) and Hollywood Boulevard (1997), are works that collapse time to examine how memory is constructed. Key series punctuate the exhibition, among them Ball Watching (1997–2003), in which Anderson overlays a Birmingham park with tropical imagery, and the long-running Barbershop works (2006–2023), which draw on makeshift salons created by Caribbean migrants and the social worlds they fostered.

A highlight is the UK debut of Passenger Opportunity (2024–25), a monumental 24-panel work inspired by Carl Abrahams’s airport murals in Kingston and reworked here to reflect on the history of Jamaican migration to Britain. The exhibition also includes paintings from the Welcome series and Anderson’s atmospheric hotel works made after a 2017 visit to Jamaica, in which derelict tourist resorts have been reclaimed by vegetation. Is It OK To Be Black? (2015–16), a rare painting featuring recognisable historical figures, addresses the politics of representation and the dynamics of the gaze.

The exhibition is curated by Dominique Heyse-Moore and Jasmine Kaur Chohan, with support from the Parker Foundation, the Huo Family Foundation and Tate patrons. It’s one of the most exciting shows to be presented in London next year, among others including David Hockney and Cecily Brown at Serpentine.