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art exhibitions

Royal Academy’s Marina Abramović Exhibition: Nude Entrance and Mixed Reviews

The Royal Academy’s 2023–24 Abramović retrospective reenacted Imponderabilia at a nude entrance visitors could bypass. Critics disagreed over its force and the exhibition’s later work.

By ThatPainter Team 3 min read
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The Royal Academy of Arts’ Marina Abramović retrospective ran in London from 23 September 2023 to 1 January 2024. Its live reenactment of Imponderabilia placed two nude performers in a narrow entrance passage, but visitors could choose an alternative route. Critics disagreed over whether the encounter—and the exhibition as a whole—retained the force of Abramović’s work.

What was the Royal Academy exhibition?

The Royal Academy of Arts (RA) presented the exhibition in its Main Galleries as the first major UK solo survey of Abramović’s work. It brought together photographs, videos, objects and installations, as well as live reperformances of four works from a career the RA described as spanning more than five decades. The exhibition has ended; it ran from 23 September 2023 through 1 January 2024. The RA’s exhibition announcement describes its format and dates.

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How did the nude entrance work?

A reenactment of Imponderabilia

At the entrance, two nude performers stood facing each other in a narrow passage. Visitors who chose that route passed between them. The work was a 2023 reenactment of Imponderabilia, created by Abramović and her then-partner Ulay in 1977. The RA described the piece as an exploration of human relations. Sky News reported on the entrance arrangement.

Visitors had another route

Passing between the performers was not required to enter the exhibition: Sky News reported that the RA provided an alternative entrance for visitors who did not want to use the nude doorway. The RA’s press release said Imponderabilia was scheduled daily, with four to six performances a day, each lasting about an hour. Those figures describe the 2023–24 exhibition schedule, not a current programme. The RA announcement gives the schedule.

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Why did the reviews differ?

The disagreement was among critics, not a measured split in visitor opinion. Reviewers differed over whether a reenactment could carry the intimacy of the original performance, what the doorway encounter meant, and how strongly the retrospective’s later work held up beside Abramović’s earlier pieces.

Critic View of the reenactment View of the exhibition
Laura Cumming, The Guardian She argued that the stand-ins did not reproduce the emotional connection between Abramović and Ulay, describing them as “detached and slightly fragile models.” She found the exhibition uninvolving.
Ben Luke, Evening Standard He called Imponderabilia awkward but potent, focusing on vulnerability and the difficulty of avoiding contact in the passage. He praised the retrospective’s pacing while criticizing portions of Abramović’s later work.

These are individual critical judgments. Luke’s first-person observation—“You do everything you can to not touch the performers, but you know it’s impossible”—describes his own experience, not a universal response. Cumming’s review and Luke’s review set out their arguments.

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What did the doorway mean?

One interpretation was that the narrow passage made visitors conscious of bodies, boundaries and the possibility of contact. PerthNow quoted RA head of exhibitions Andrea Tarsia describing it as a “confrontation between nakedness, and the gender, the sexuality, and the desire.” That is the institution’s explanation of the encounter, not evidence that every visitor experienced it that way. Critics could find the same setup awkward, potent or emotionally unconvincing. PerthNow’s contemporaneous coverage summarized the critical disagreement and reported Tarsia’s comment.

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Were visitor reactions actually measured?

The available coverage does not establish a representative visitor poll or quantify how many visitors approved of or objected to the show. “Mixed reviews” refers to differing critical assessments, including favorable reviews and a two-star Telegraph review reported by PerthNow; it should not be read as a statistic about audience sentiment.

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