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The garden city northeast of the centre — wide boulevards, arcaded streets, and a hybrid Moorish-Byzantine-European architecture invented specifically for this suburb and called, plainly, Heliopolis style. At its eastern edge stands the Baron Empain Palace, a full-scale Hindu-Khmer temple in reinforced concrete, restored and open as a museum. There is nothing else like it in Africa.
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A major Royal Academy retrospective reassesses the Victorian painter whose haunting visions emerged from the depths of madness.
A landmark exhibition at the Royal Academy revisits the tragic legacy of Richard Dadd, whose extraordinary fairy paintings were born from a mind torn between brilliance and breakdown.
A deep look into the mid-century art movement that liberated the Arabic letter, fusing traditional script with modern abstraction.
The Hurufiyya movement stands as one of the most significant developments in twentieth-century Arab art. Discover how modernist pioneers deconstructed traditional Arabic calligraphy to assert a post-colonial cultural identity, and learn where to experience these works today using Exhibo.
Egypt built a museum to tell the story of an entire civilisation — seven thousand years of it, from flint tools to the present. The public knows it for one thing: the room where twenty dead kings lie in the dark.
In a black, hushed hall beneath the National Museum of Egyptian Civilization in Old Cairo lie the mummified bodies of Ramesses II, Hatshepsut, and eighteen other rulers of the New Kingdom — carried here in 2021 in a televised parade watched around the world.
Agrabah was going to be Baghdad. A war made it fictional — and then Disney built it back out of real places, from a tomb in Agra to a valley in Jordan that usually plays Mars.
The Sultan's palace where Princess Jasmine feels trapped has the silhouette of the Taj Mahal — which is not a palace at all, but a tomb. That is how Agrabah works. Disney's fairy-tale city was going to be Baghdad, until the Gulf War made the name impossible; the studio invented a place that could not be found on a map, then quietly rebuilt it out of real ones — Isfahan and Agra, Marrakesh and Mandalay, a Jordanian desert that has played both Arabia and Mars.
When Tutankhamun's mask left Cairo's Egyptian Museum for the Grand Egyptian Museum, it took the crowds with it — but not the collection. What remains in the old building on Tahrir Square turns out to be a stranger and more interesting museum than the one that emptied.
For most of a century, the golden mask of Tutankhamun stood behind glass on the upper floor of the Egyptian Museum in Cairo. In October 2025 it was driven out to Giza, and it was not the only thing to go: the royal mummies, the whole Tutankhamun collection, tens of thousands of objects have left the old museum for Egypt's gleaming new institutions.
A car bomb left one of the world's great collections of Islamic art in fragments on the floor. What the Museum of Islamic Art chose to do with the repair — mark it, rather than hide it — turns out to be the most quietly radical decision in the building.
Near the entrance of Cairo's Museum of Islamic Art stands an eight-hundred-year-old Syrian glass bottle with a small gold mark on its label. The mark does not mean the bottle is precious, though it is. It means it was broken — shattered on the floor by the 2014 bombing across the street, then patiently glued back into a single shape.
