‍At British Art Fair, our dealers are on hand to share their expert knowledge. From offering insight into an artwork’s history, the artist’s practice, to what makes a piece significant. We asked our 2026 exhibitors which questions they think every collector, both new and established, should ask.

We asked five influential tastemakers from the worlds of art, design and culture to share the works at British Art Fair 2026 that have caught their eye. From emerging names to established artists, each has selected personal favourites from the fair, offering a glimpse into the artists shaping their view of British Art.

Every collection begins with a single artwork, but there are many routes to becoming a collector. From buying prints and works on paper to discovering overlooked artists and following your own taste, the British Art Fair exhibitors share their advice on building a collection with confidence.

Why is now the moment to collect British art? We asked the experts at British Art Fair to share their perspective. Their responses reveal a market defined by value, renewed appreciation and exciting opportunities to discover artists whose significance is only continuing to grow.

Rebekah Tolley, Producer and Curator of Spotlight: Digitalism, shares her insights into the history of digital art and how 'Digitalism' represents the moment this history evolved into a coherent cultural field within the mainstream art world.

Digital art is no longer a speculative category waiting for the traditional art world to decide whether it has a place. While the technology may be different, the principles of collecting are remarkably familiar.

Tate Britain’s retrospective of Lee Miller - 230 photographs across eleven rooms, traces a coherent trajectory through the many chapters of Miller’s very episodic career.

In the 1930s, artist and designer Peggy Angus transformed a derelict cottage on the South Downs into a creative refuge for friends like Eric Ravilious, John Piper and Helen Binyon. Amid the rugged beauty of Sussex, Ravilious discovered the clarity and confidence that defined his mature style. Furlongs became a symbol of artistic freedom, camaraderie and experimentation—its influence still echoing through the collections at Towner Eastbourne today.

Elisabeth Frink’s Walking Madonna strides away from Salisbury Cathedral, dignified suffering etched into her middle-aged face. Cast in bronze, she seems anything but static. Her forward motion is palpable, her grief kinetic. Is she fleeing the trauma of bereavement, or walking toward some hard-won reckoning? Frink, as ever, left the question open. The sculpture, all coiled resolve, exudes an aura of stoic endurance. This is no geometry of fear – it’s a geometry of compassion.

A field in West Sussex, bordered by ancient woodland, lies fallow… but for a curious jaggedy monument. Imagine if MC Escher had redesigned a Mesopotamian ziggurat, and you’re halfway there.

In the summer of 1933 the 28-year-old painter Edward Burra, living with his parents in the village of Playden, near Rye in East Sussex, wandered out of the house, seemingly heading for town. His mother thought he’d gone to buy a packet of cigarettes. In fact, he was bound for New York. He didn’t return for three months. 

Pallant House Gallery’s excellent new exhibition Seeing Each Other: Portraits of Artists, features British artists’ depictions of other British artists over the last 125 years. It’s a great concept: artist and subject tend to be deeply connected, as friends or lovers. This results in remarkably intimate, nuanced depictions.

Maro Gorky at Saatchi Gallery and Long & Ryle.

It’s time to give contemporary women artists a fair crack of the whip.

Textile art is as old as the hills, but retains its vitality in the digital age.

Tate Modern’s engaging new show Electric Dreams examines how groups of innovative artists used science and technology in their practice between the end of WW2 and the advent of the internet.

British Art Fair Co-Founder and Director, Gay Hutson, shares her memories of 40 years running art fairs.

Has Long and Ryle got bigger? No, the Pimlico gallery hasn’t had an extension: they are currently showing the latest exhibition of the painter John Monks, a modern master of perspective.

‘Potty for it!’ gushed an Elle Magazine headline in October 2022, describing ‘the new wave of ceramics that have reached cult status’. And the jaunty pot puns didn’t stop there: ‘as designers blur the lines between art and function,’ continued the fashion mag’s on-form sub-editor, ‘it seems everyone’s got the hots for pots.’

Filmmaker and ‘digitalist’ Rebekah Tolley-Georgiou is curating a cutting-edge digital art exhibition for British Art Fair at Saatchi Gallery. Here she explains to Alex Leith how advances in technology have given the art world its latest ‘ism’.