For its 2026 edition, London Art Fair places Surrealism at the heart of its program, revealing the vitality of a movement that has never ceased to reinvent itself. Between historical works, major rediscoveries, and contemporary creations, the London fair explores the power of dreams and imagination as keys to understanding the modern world.


João Artur da Silva (b. 1928) Untitled
Every January, London Art Fair opens the London art year with a thoughtful and nuanced look at modern and contemporary art. Held at the Business Design Centre, the fair has established itself over the decades as a space for dialogue between art history and current practices, favoring a demanding curatorial approach over a mere accumulation of booths. For its 2026 edition, this ambition is reflected in a strong central theme: Surrealism, viewed not as a static movement, but as a living and constantly evolving force.
Entitled Surrealism Returns: Discovering the Dreamworld at London Art Fair 2026This focus highlights Surrealism's capacity to transcend eras, transform itself, and resonate with contemporary concerns. Born in the interwar period as a radical attempt to liberate the imagination and the unconscious, Surrealism retains a striking relevance today. In a time of technological upheaval, identity crises, and questioning of reality, its dreamlike language appears more pertinent than ever.
This theme permeates the entire fair through a constellation of historical and contemporary works. British Surrealism, long overshadowed by its French counterparts, occupies a prominent place. Artists like Marion Adnams and John Banting demonstrate a singular sensibility, marked by a silent strangeness, where mental landscapes and hybrid forms convey the anguish and poetry of the post-war era. These works remind us how Surrealism, far from being a uniform style, has manifested itself in diverse cultural contexts.

Alongside these rediscovered figures, London Art Fair 2026 also brings together the movement's leading names, through rare editions and iconic works. The worlds of Max Ernst and René Magritte, with their fascination for metamorphosis, subversion, and visual paradox, embody this fertile tension between the familiar and the impossible. Their presence underscores the enduring importance of Surrealism, while also recalling its foundational role in the history of modern art.
But the strength of this edition lies above all in the way it situates Surrealism in the present. Several galleries offer a contemporary reinterpretation of the movement, demonstrating that its principles—exploration of the unconscious, rupture of rational logic, visual poetry—continue to inspire new forms. The sculptures of Salvador Dalí, reintroduced into a current context, engage in dialogue with the meticulous and ironic paintings of Frank Björklund, while the almost hypnotic works of Henry Orlik intersect Surrealism and science, resonating with contemporary questions surrounding physics and perception.
Photography also occupies a significant place, notably through the work of João Artur da Silva, a major figure of Portuguese Surrealism. His experimental images, long unpublished, recall London's central role as a place of exile, creation, and circulation of Surrealist ideas during the 20th century. Finally, younger artists, such as Ni Xuemin, extend this tradition by opening it up to contemporary themes—identity, temporality, the digital future—confirming the extraordinary plasticity of Surrealism.
By placing this movement at the heart of its 2026 edition, London Art Fair offers much more than a tribute: it affirms Surrealism as a transgenerational language, capable of linking memory and innovation. Between dream and reality, heritage and reinvention, the fair invites visitors to slow down, to look differently, and to accept strangeness as an essential driving force of artistic creation.
London Art Fair 2026
Business Design Centre, London
January 21–25, 2026: Opening to the public







