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Artists v fascists, Khmer Rouge horrors, fab flowers and an eye-popping nude – the week in art

This week's art roundup from The Guardian features a major exhibition at Towner Eastbourne titled 'Comrades in Art: Artists Against Fascism,' which examines how artists, poets, and intellectuals used their work to resist the rise of extremism in 1930s Europe, drawing on the history of the Artists International Association (AIA). Other highlights include 'Hidden: Photography and Displacement Under the Khmer Rouge' at The Wiener Holocaust Library in London, a show of early Netherlandish drawings at the British Museum, Katharina Grosse's colorful installations at White Cube, and a flower-themed survey at Kettle's Yard. The image of the week is Sylvia Sleigh's 1963 portrait 'The Bridge (Johanna Lawrenson),' part of a new exhibition of the Welsh artist's work. The article also covers news items such as Lydia Ourahmane's Venice Biennale installation, a Holbein portrait mystery, a restored stained-glass window by Edward Burne-Jones and William Morris, and Anish Kapoor's call to exclude the US from the Venice Biennale due to 'politics of hate.'

Portrait adds a dusting of mystery to exhibition in Bishop Auckland

A mystery portrait has prompted a public appeal in County Durham as a major new exhibition celebrating miner-artist Tom McGuinness opens at Bishop Auckland’s Mining Art Gallery. Visitors are being asked to help identify an unknown man depicted in a 1963 charcoal drawing, *Portrait of an Unknown Man*, now on display as part of *Tom McGuinness: Out of the Darkness*, which marks the centenary of the artist’s birth and runs throughout 2026. McGuinness, born in Witton Park, worked in the mines for nearly four decades, and his art captures the physical and emotional realities of mining life. The portrait was initially thought to depict the artist’s father-in-law, but his daughter Corinne Aspel has challenged that assumption, noting clear differences in facial features.