Disrupting the Human Psyche: Sir Anish Kapoor at the Hayward Gallery

LONDON — As part of the Southbank Centre’s 75th anniversary, the Hayward Gallery launched a major solo exhibition by Sir Anish Kapoor. Running from 16 June until 18 October 2026, as captured in this article’s featured image, the show is already provoking strong reactions, prompting audiences to debate the boundaries of contemporary art.

A central talking point is how Kapoor has maintained conceptual relevance for 46 years, since his debut exhibition in 1980. Frequently, controversy follows his practice; critics suggest it drives his enduring cultural impact. In a Southbank Centre interview, Kapoor addressed this polarising perception: “I’m not delivering a meaning.” Specifically, he wants the object to evoke a reaction through engagement and to seek viewers’ diverse responses.

Upon entering, visitors are confronted with All or Nothing (2026), a monumental installation of giant, deep-red sculptural forms squashed against the architecture. Oozing from the walls, the massive shapes block the usual entry to the gallery. Kapoor explained that this structural interference gives the artwork an aggressive physicality, projecting the concrete space’s inherent brutality while psychologically hooking the audience.

Public reactions highlight the humbling impact of this scale. Documenting the exhibition under the pseudonym Art Gallery Explorer, one independent reviewer observed:

“We’re made to feel insignificant as humans and…I find that welcome in an age of puffed up egos and ultra individualism.”

This response mirrors Kapoor’s intent. In the Southbank Centre discussion, the artist stresses his concern with physical engagement and its transformative impact on viewer consciousness.

The exhibition further investigates structural mass through a piece that challenges gravity. In Mount Moriah (2022), the sculpture is suspended upside down, and the massive structure projects downward, creating unease. Ralph Rugoff, Hayward Gallery Director until Spring 2026, explained that Kapoor’s practice explores “states of being” prompting audiences to consider dual concepts such as “presence and absence, fullness and emptiness”, and “right-side up” and “upside down.”

This preoccupation with the unknown is accentuated by the artist’s “void” works using Vantablack technology. The official company history states the material “absorbs 99.965% of light”, rendering Kapoor’s sculptural black crevices and holes as infinite spaces. The substance has caused industry controversy since he secured exclusive artistic rights to its application. While the manufacturer, Surrey NanoSystems, notes in the ‘Favourite Projects’ section on their website that the artist is a key client, the exclusivity agreement has drawn criticism from the wider artistic community. Despite the debate, reviewers note that the optical illusions remain highly effective, offering an encounter with ambiguity.

A dramatic shift in Kapoor’s practice is unveiled through Ritual Expiation (2025-2026), a series of sacrificial installations. These grotesque works resemble simulated, mutilated, fleshy remains dripping organic material into industrial trays. Rugoff described these new works as “repulsive” yet “intensely visceral” and unexpectedly imbued with a profound sense of “tenderness” and “sensuality”.

While Art Gallery Explorer described the sacrificial series as gruesome but compelling, the reviewer noted that the pieces serve as a powerful reminder of humanity’s mortality. However, the remarks also offered a critique, suggesting that subtlety was absent and that the wrapped plastic elements bordered on the “kitsch.”

This tension highlights Kapoor’s awareness of his audience. He maintains that encouraging strong discussions about what constitutes art remains a primary focus. As the exhibition concludes today, Kapoor’s continued ability to provoke intense emotional friction ensures his work remains central to contemporary cultural discourse.