We're excited to usher in the fifth year of the ANNA Awards, aimed at women-identifying artists from across the African continent. South African brands ANNA and Latitudes joined forces in 2022 to create an award that discovers, recognises and nurtures a new generation of women artists from Africa.

Each year, RMB Latitudes Art Fair presents ESSAY, a dedicated curatorial project that brings together focused dialogues between South African artists across generations. The 2026 iteration centres on the work of Jan Neethling, presented in dialogue with a focused selection of works by his former teacher and lifelong friend, Robert Hodgins.

Award-winning architecture firm Boogertman + Partners returns to the RMB Latitudes Art Fair this year to design the centre court lounge for a second time, introducing an all-new design concept.

Nigeria Focus recognises the extraordinary depth of artistic production emerging from the country while also acknowledging that meaningful exchange across African regions still requires intentional infrastructure.

34,000 people visited the Investec Cape Town Art Fair - making it the most successful to date. This article explores the forces reshaping African art, from market recalibration to the rising influence of women and the impact of technology. Together, they reveal an ecosystem coming into its own and defining its future with growing confidence.

The line between censorship and curating is finer than we might like to admit. While curation relies on deliberate choices of inclusion and exclusion, it can operate more subtly than overt censorship, which is visible and open to public debate. This quiet selectivity often goes unnoticed, particularly by audiences unfamiliar with art history and its critical foundations.

Latitudes' Palesa Ngwenya speaks to Adele Van Heerden about her latest solo exhibition with 131 A Gallery, Alluvial.

With 150 works by 50 artists, an historical exhibition of this breadth at such a respected institution is long overdue, providing context for modern and contemporary Nigerian art that is shown and sold in this city and elsewhere. In short, an exhibition of this nature is likely to bolster Nigeria's profile as an art centre on the African continent.

It is with deep disappointment that we confirm that the proposed South African Pavilion for the 61st International Art Exhibition – La Biennale di Venezia (2026) will not proceed.

In this episode, Refiloe Mpakanyane speaks to Carla and Pieter Schulting, Dutch collectors whose journey into contemporary African art has grown into a 350+ artwork collection representing all 54 countries on the continent.

By nature, the movement of artworks between borders is one of uncertainty within rigid structure. Shipping of artworks internationally involves months of planning, applications through government organisations, piles of paperwork, double and triple checking codes and values, negotiation, bureaucracy, high costs for transit and customs fees, and dozens of hands and minds.

Black performance is impossible not because it doesn't exist, but because it exists otherwise — fugitively, excessively, in the break.

Our Head of Content, Chelsea Selvan, sat down with Japan-based curator and collector Dexter Wimberly to discuss The Shape of Things to Come — his Dubai exhibition bringing together African and diasporic artists exploring transformation, resilience, and renewal.

The accessibility of art has been a perennial topic of discussion in art circles. While art galleries and museums are theoretically open to all, social, economic, educational, cultural, class, and racial barriers often complicate access in practice.