Jake and Dinos Chapman’s solo show “The Disasters of Everyday Life” channeled modern anxiety; the artists, known for their longtime dedication to the issues of organized violence, addressed the contemporary and historic imagery of terror. The exhibition consisted of a trio of works based on actual sets of Francisco Goya’s “Disasters of War” etchings (first published in 1863), as well as seven bronze sculptures of vests adorned with explosives: Life and Death Vests I–VII, 2017.

In the series of etchings, Goya—a prominent figure in the Chapman brothers’ artistic output (they have bought six

“The Beautiful Game,” Hank Willis Thomas’s first solo exhibition in London, built on his ongoing study of the relationship between sports, nationalism, and the history of slavery in the United States. Previous works have included photographs such as Scarred Chest, 2004, which shows the Nike logo digitally rendered on a black body as a raised scarification, and The Cotton Bowl, 2011, depicting a US football player in a starting pose mirrored by a man picking cotton. Here, taking the transnational legacy of European football as his focus, Thomas presented ten quilts composed like (or even directly

Martha Jungwirth’s first exhibition in the United Kingdom coincided with a period of broader international rediscovery. The Viennese septuagenarian was the only woman in the loosely gathered, short-lived Wirklichkeiten (Realities) group that exhibited together in 1968–72: The figurative painters offered a counterpoint to the prevailing Minimal and Conceptual tendencies of the era as well as to the local Vienna Actionists. But until lately, her expressive paintings have rarely been shown outside of Austria and Germany. This exhibition consisted of thirteen works made between 1998 and 2015, in