Anish Kapoor's latest exhibition at the Hayward Gallery in London presents a visceral, macabre series of works exploring themes of sacrifice, mortality, and the divine. The show features PVC-wrapped paintings titled "Plastic Sacrifice I, II, III" that resemble entrails, optical illusions using Vantablack, and a massive upside-down mountain called "Mount Moriah at the Gate of the Ghetto" referencing the biblical story of Abraham and Isaac. The review describes the exhibition as a "divine bloodbath" that combines sensationalist imagery with deep metaphysical questions.
This exhibition matters because it marks a provocative turn in Kapoor's career toward more explicit religious and sacrificial themes, while continuing his long-standing exploration of void, perception, and materiality. The show challenges contemporary audiences' short attention spans by creating immersive, disorienting experiences that reference old master paintings and biblical narratives. It also demonstrates Kapoor's continued technical innovation with materials like Vantablack, and his ability to generate both horror and delight in viewers, reaffirming his position as one of Britain's most significant living artists.