By Simpson Global Media News Desk
EVENT DATES: Tuesday, 27 October, to Saturday, 31 October 2026
NATIONAL EXHIBITION OPENS: Wednesday, 28 October 2026
GALA AND AWARDS NIGHT: Saturday, 31 October 2026
LOCATION: International Conference Centre, Institute of Management and Technology (IMT), Enugu, Enugu State, Nigeria
REPORT PREPARATION DATE: Saturday, 24 October 2026 (West Africa Time)
Nigeria's emerging artists prepare for a national exhibition
Nigeria's visual arts community is preparing for a major showcase as the Life in My City Art Festival (LIMCAF) brings 100 young artists from across the country to Enugu for the grand finale of its 19th edition, with this year's theme, Open Letter, inviting artists to reflect on personal responsibility, public expression and the possibility of social change.
The festival's main programme will run from Tuesday, 27 October, to Saturday, 31 October 2026, at the International Conference Centre of the Institute of Management and Technology in Enugu. The national exhibition is scheduled to open on Wednesday, 28 October, while the gala and awards ceremony will take place on the final day.
The event is organised by the Life in My City Art Foundation, a Nigerian nonprofit that has focused on developing and exhibiting young artists since the festival began in 2007. The 2026 edition is expected to bring together emerging visual artists, established practitioners, curators, collectors, cultural institutions, businesses and members of the public. (The Guardian, 24 October 2026; official LIMCAF website)
The festival's central exhibition will feature works selected through regional stages held across 18 centres. The organisers say more than 100 qualifying artists will present their works on a national platform, giving audiences the opportunity to encounter different artistic approaches, materials, subjects and perspectives.
The programme extends beyond the display of paintings and sculptures. Organisers have announced an art and crafts fair, lectures, cultural tours, film screenings, spoken-word performances, fashion activities and an awards gala.
The festival is particularly significant because it provides a national platform for young Nigerian artists outside the country's most prominent commercial art circuits. By bringing selected works together in Enugu, LIMCAF aims to connect emerging creatives with audiences, mentors, established artists and potential supporters.
The event is still ahead of the reporting date, so the final winners and the public response to the exhibition have not yet been established. The coming week will reveal how the selected artists interpret the theme and which works are recognised by the national jury. (BusinessDay, 27 September 2026; The Guardian)
What “Open Letter” means for this year's artists
The theme Open Letter is intended to encourage artists to examine the relationship between individual choices and the wider society.
The official competition description frames the theme around the gap between what people say they believe and what they actually do. It invites participants to consider how individual initiative and creativity can draw attention to issues capable of influencing communities and contributing to wider public awareness. (Official LIMCAF competition page)
An open letter is ordinarily a public communication directed at a person, institution or community, with the intention of starting a conversation beyond its original recipient. In an artistic context, the idea allows an artist to communicate through images, objects, materials, symbols and visual narratives rather than relying exclusively on written language.
A painting might examine a familiar community problem. A photographic series could explore how people experience changes in their surroundings. A sculpture might challenge conventional expectations about identity or belonging. A mixed-media installation could combine everyday materials to raise questions about consumption, memory or public responsibility.
These are possible interpretations of the theme rather than descriptions of particular works submitted to the festival. The final exhibition will show how participating artists have approached the brief in their own ways.
The theme also permits artists to explore ambiguity. A work does not need to deliver a simple moral lesson or prescribe a single solution. It may instead expose contradictions, invite questions or present an experience that challenges a viewer's assumptions.
That openness can make the exhibition relevant to audiences who bring different experiences to the same artwork. One visitor may connect a work to family history, another to public life, and another to a question about the future of the community.
The organisers' emphasis on the relationship between individual action and collective consciousness also gives the theme a broader cultural dimension. Art can make private experiences visible, record events that might otherwise be overlooked and provide a shared space for discussing difficult subjects.
The test of the theme will be whether the selected works engage with it in ways that are visually compelling and intellectually meaningful, rather than simply repeating the phrase in their titles.
A 19th edition with a longer history
The 2026 festival is the 19th edition of LIMCAF, which began in 2007 as an initiative to create more opportunities for young artists to exhibit their work.
The festival was initiated by Robert Orji, founder of Rocana Nigeria Limited, as a recurring competition intended to identify emerging artists and provide them with a route towards wider recognition. Over time, it developed a wider programme of exhibitions, awards, workshops and related activities. (The Guardian, 26 September 2026)
The importance of that history lies not simply in the number of years the festival has operated. It also shows the value of maintaining a consistent platform through which artists can develop and audiences can encounter new work.
Early-career artists often have to build their professional networks while also finding the resources to produce work, rent studio space, obtain materials and pay for exhibition opportunities. A recurring national festival can help reduce some of the barriers associated with finding an audience, although it cannot remove all the financial and professional difficulties artists face.
LIMCAF's regional structure is another important part of its development. Instead of restricting participation to artists who are already established in the largest commercial centres, the competition draws work from multiple locations before bringing selected participants to Enugu.
This approach gives artists based in different parts of Nigeria a chance to be considered through a common national process. It also offers audiences an opportunity to encounter perspectives that may not be as visible in the most widely reported gallery programmes.
The festival has attracted support over the years from cultural organisations, businesses, art foundations and individual patrons. The Guardian's latest report identifies Rocana, the French Embassy and the Alliance Française among its supporters and notes the involvement of prominent figures from the Nigerian and wider African art community. (The Guardian)
The 2026 edition therefore arrives with an established history but also with a continuing challenge: finding ways to make the platform sustainable enough to support future generations of artists.
One hundred artists from 18 regional centres
A central feature of the 2026 programme is the national exhibition bringing together 100 young artists who progressed through the festival's regional selection process.
According to the organisers' published information, the regional stages cover 18 centres. Works from those stages are brought forward for the final exhibition, where a national jury determines the awards. The official festival website describes the selected artists as representing 18 cities, while its competition information refers to the 18 regional centres. (Official LIMCAF website)
The process matters because a national exhibition can offer more than a display of finished work. It allows artists to see how their practices relate to those of people working in other locations, using different techniques or exploring different subjects.
For audiences, the national selection can provide a broad view of contemporary creative approaches in Nigeria. Visitors may encounter paintings, photography, sculpture, installation, ceramics, textile art, fashion-related work, drawing, graphics and digital or video art.
The official competition's categories reflect this range. They recognise established visual-art forms while making room for approaches that combine different media or use materials in unconventional ways. (Official LIMCAF competition page)
The selected artists will also face the challenge of presenting their work to people who may not share their personal backgrounds or artistic references. A work that begins with a local experience may acquire additional meanings when placed in a national exhibition alongside projects from other communities.
This type of encounter can help artists explain their intentions, reconsider decisions and understand how audiences interpret their work. It can also encourage dialogue among people who rarely have an opportunity to see each other's practice in person.
However, selection for a national exhibition should not be treated as the end of an artist's development. It is one stage in a longer process involving experimentation, feedback, professional relationships and continued practice.
For the 100 participating artists, the coming week offers an opportunity to show the results of their work and to engage with a wider creative community.
A national jury to assess the selected works
Six art professionals have been appointed to the 2026 National Jury Panel, which will assess the works at the final stage of the competition. Chike Obeagu is the chair of the panel. The other members are Adiwu Talatu Onkala, Ugochukwu-Smooth C. Nzewi, Bella Anne C. Ndubuisi, Dotun Popoola and Frank Omoh Agbiyoa Ugiomoh.
Professor Jerry Buhari has been appointed curator of the grand finale exhibition. These appointments were reported by Vanguard in September and are also reflected in reporting on the festival's preparations. (Vanguard, 29 September 2026; BusinessDay)
The jury's task is to evaluate the selected works and determine the winners of the festival's awards. Such decisions require attention to the artistic qualities of each entry while taking account of the category in which it has been submitted.
Different media create different assessment questions. A painting may be considered in relation to composition, use of colour, technical choices and the relationship between its form and meaning. A sculpture or installation may require attention to materials, spatial arrangement, structural decisions and the way the viewer experiences the work.
Digital and video art may involve different technical processes and relationships between image, time, sound or interaction. Textile work and ceramics likewise raise questions that cannot always be assessed in the same way as a conventional painting.
A fair evaluation process therefore depends on appropriate expertise, clear criteria and careful consideration of each work within its own medium.
The appointment of a curator is also important to the exhibition as a whole. A curator helps determine how works are presented, how visitors move through the space and how individual entries relate to the exhibition's wider theme.
A successful national exhibition must allow each work to be seen clearly without losing the connections that make the combined display meaningful.
The final award decisions will be announced at the gala on 31 October. Until then, the rankings and identities of the winners remain unknown. (The Guardian)
Prizes and recognition for emerging artists
LIMCAF's awards offer financial recognition across several categories and are intended to encourage continued artistic development.
The official competition page lists the Elder K.U. Kalu Prize for Young Artist of the Year at an amount equivalent to US$2,000. It also lists a ₦1 million prize for best photography and a ₦1 million award for best painting. The Tayo Adenaike Prize for watercolour, sculpture and installation art awards, ceramics, graphics and digital or video art, textile and fashion art, drawing and several other categories have separate monetary allocations. (Official LIMCAF competition page)
The official list includes awards for the most creative female artist and for the best entry by an artist living with a disability, each listed at ₦500,000. It also includes endowed awards for originality, technical proficiency, collage and other areas, with amounts varying by prize.
The awards are not limited to a single overall winner. The range of categories recognises that artistic achievement can take different forms and that artists working in different media may need to be assessed according to different considerations.
The official page also lists an El Anatsui Prize providing international travel to the Dakar Biennale in Senegal for the top six artists. The prize creates an opportunity for selected participants to experience another major art environment and encounter work from a wider international community. (Official LIMCAF competition page)
The travel opportunity may be particularly valuable to emerging artists who have limited resources for international exhibitions or professional development. Exposure to different artistic practices can help them reconsider their approaches, make new connections and better understand how their work may be received elsewhere.
Awards and travel opportunities cannot guarantee a lasting career, but they can provide useful forms of recognition and support at a formative stage.
For the festival, the effectiveness of these incentives will depend partly on what happens after the gala: whether winners and finalists receive opportunities to exhibit again, connect with patrons, develop professional skills and sustain their practice.
The final award announcements next Saturday will identify the year's winners, but the broader objective is to strengthen the conditions in which young artists can continue creating beyond the competition.
Beyond the gallery: the programme in Enugu
The exhibition and awards ceremony are only part of the festival's programme.
The announced activities include an art and crafts fair, a festival lecture, film screenings, cultural and artistic tours of Enugu, spoken-word performances, a fashion show and other gatherings involving artists and visitors.
The programme provides several ways for people to engage with creative work. Visitors who are interested in visual art may concentrate on the exhibition, while others may use the cultural tours, screenings or talks to understand the wider context in which Nigerian artistic practice develops. (The Guardian, 24 October 2026)
The inclusion of different activities also reflects the connections between visual art and other creative forms. A painting may use ideas drawn from music, literature or theatre. A fashion designer may respond to the same histories, materials and visual traditions that inspire a sculptor or photographer.
Film screenings can offer another way to encounter visual storytelling, while spoken-word performances allow artists to work with rhythm, language and public expression in a different form.
The crafts fair can bring attention to work that sits between artistic expression, skilled making and commercial exchange. It may also give visitors an opportunity to learn about processes and materials that are not always visible in a finished gallery object.
These activities should not be confused with the formal competition results. Their purpose is to broaden participation in the festival and create space for cultural engagement beyond the judging process.
The organisers have described the finale as a culmination of the year's activities and a celebration of the artists and institutions that support them. The programme is therefore designed to bring together the exhibition, professional development, public engagement and recognition of creative work. (The Guardian)
Remembering Obiora Udechukwu and the AKA Circle of Artists
One of the programme's historical elements will focus on Obiora Udechukwu, an artist and co-founder of the AKA Circle of Artists, and the history of artist-led initiatives in eastern Nigeria.
The programme includes the unveiling of Kindred Spirits: The AKA Circle of Exhibiting Artists, by Iheanyi Onwuegbucha, as well as a fireside conversation examining the history of artists organising their own exhibitions and creative activities. The Guardian identified this programme as a significant part of the 2026 finale. (The Guardian)
The historical focus is important because artists' opportunities are shaped not only by their individual talent but also by the institutions and networks available to them.
In periods when galleries or established exhibition venues are scarce, artists may have to build their own platforms, work together to organise exhibitions or find alternative ways to reach audiences.
Such initiatives can help create the conditions for a more active art community. They offer opportunities for artists to exchange ideas, show work and develop a collective presence even when established commercial structures provide limited support.
The experience also demonstrates that art history is not made only through famous individual works. It is shaped by the groups, organisers, critics, patrons, teachers and cultural institutions that make creative practice visible.
Documenting those histories can help younger artists understand how earlier generations responded to the same broad challenge of sustaining artistic work in an environment with uneven access to resources.
The AKA Circle programme places that history alongside the work of the current generation. It suggests that the development of contemporary art requires both experimentation with new ideas and an understanding of the conditions that made earlier artistic movements possible.
For visitors, the conversation may help connect the festival's current competition to the longer history of artists in eastern Nigeria and the importance of self-organisation in cultural life.
Support for young artists beyond the competition
A recurring challenge for emerging artists is the gap between producing work and sustaining a professional practice.
Materials, equipment, studio space, transport and exhibition costs can place pressure on artists who are still building an audience. Even when a work receives positive attention, the artist may need additional resources to produce new work and make it accessible to buyers or institutions.
Paul Usoro, a former president of the Nigerian Bar Association and chairman of Paul Usoro & Co, is among the personalities associated with this year's gala. Speaking about LIMCAF's role, he said the festival provides emerging artists with opportunities to exhibit, interact with established practitioners and reach a broader audience. (The Guardian)
These opportunities are important because professional development often depends on repeated engagement rather than one major event.
An artist may benefit from meeting a curator who can explain how a future exhibition is organised, a collector who expresses interest in the work, or another practitioner who can share experience about materials and technique.
Such connections can help artists understand different routes to professional growth. They may pursue commissions, sell work directly, collaborate on projects, apply for residencies or participate in additional exhibitions.
Yet networking and recognition do not remove the need for reliable income. Artists must still cover their production costs and decide how to price work, negotiate agreements and manage the practical responsibilities associated with professional practice.
The financial dimension of visual art can be particularly challenging where artists are expected to produce work before they have secured a buyer or patron.
A festival can help by providing a shared setting in which work is displayed and potential relationships begin. Sustained support requires those relationships to continue after visitors leave the exhibition.
This is one reason the longevity of LIMCAF matters. A recurring programme has the opportunity to maintain relationships with participants, supporters and audiences over several years rather than starting from the beginning with every edition.
Art, regional visibility and cultural development
LIMCAF's regional structure has significance beyond the selection of individual winners.
Nigeria's art community includes artists who work in different cities, communities and institutions, often with different levels of access to commercial galleries, curatorial networks and media attention.
A national exhibition can create a point of connection between those locations, enabling artists to encounter one another's practices and making some of their work more visible to audiences outside their home regions.
The festival's movement across 18 regional centres means that the final exhibition is built through a wider process than a single gallery selection. Participants must first pass through the regional stages before progressing to the national platform. (Vanguard)
This does not mean that regional representation is automatically equal or that every artist has the same resources to produce work. But it creates a formal route for participation from multiple locations.
Regional platforms can also help identify local talent and create relationships between young artists and people who can support their development.
For some participants, the national finale may be an introduction to a wider professional audience. For others, it may provide a chance to revisit earlier connections or present more developed work after previous participation.
The importance of the platform will ultimately depend on whether it helps artists build ongoing opportunities and whether those opportunities are accessible to people from different backgrounds.
Enugu's role as host city also places the event outside the commercial art spaces most commonly associated with Lagos. That geographical dimension can help encourage attention to art and cultural activity in other Nigerian cities.
The role of businesses and cultural institutions
The festival's continued operation has depended on a network of supporters, including cultural institutions, business organisations, foundations and private donors.
The Guardian's 24 October report identifies organisations such as the Alliance Française network, the Institut Français, the French Embassy, Honeywell Group, FBN Holdings, the Pan African Circle of Artists, the Enugu State Council for Arts and Culture, the Centre for Contemporary Art in Lagos and Thought Pyramid Art Center in Abuja among the organisations that have supported the festival or its broader work. (The Guardian)
Such partnerships can help fund exhibitions, provide venues, support prizes and contribute expertise or professional networks.
They can also connect artists with audiences who may not ordinarily visit a contemporary art exhibition. Businesses may encounter opportunities for patronage or collaboration, while cultural institutions can use the festival to engage with artists and develop new relationships.
The structure of this support matters. One-off sponsorship may help deliver a single event, while longer-term commitments can give an organisation more room to plan workshops, residencies, outreach and professional development.
For an initiative focused on young artists, the ability to maintain support between annual finales can be as important as the public event itself.
The organisation has developed programmes beyond the main competition, including workshops for children, young people and persons living with disabilities. These activities indicate that its wider work is intended to include arts education and access as well as exhibition and awards. (The Guardian)
The festival's next stage will test whether it can continue broadening that support while retaining the resources needed to select, exhibit and recognise new talent.
Inclusion and participation in the visual arts
Access to artistic opportunities is an important part of LIMCAF's published approach.
The official competition rules encouraged participation by female artists and young artists with disabilities. The award structure includes a category for the best entry by an artist living with a disability, while the foundation has also conducted workshops involving children, young people and persons living with disabilities. (Official LIMCAF competition page; The Guardian)
These measures recognise that participation in the arts depends on more than the ability to create a work. Artists may also need accessible venues, appropriate equipment, communication support, opportunities to learn and routes through which they can submit and exhibit their work.
An inclusive programme should also consider how audiences engage with the exhibition. Clear information, accessible circulation around displays and appropriate support for visitors with disabilities can influence whether people are able to participate fully.
Award categories can bring attention to practices that might otherwise be overlooked, but inclusion depends on the wider structure of opportunities as well.
The question is not only whether an artist can enter a competition, but whether they can develop their practice and continue participating after the event.
For young people, workshops can provide an introduction to materials, methods and ways of expressing ideas. They can also help participants understand that creative work involves experimentation, observation and the willingness to revise an initial approach.
Such programmes should not be treated as a substitute for wider access to education and professional opportunities. They are one part of a broader environment that can either support or constrain artistic development.
LIMCAF's continuing challenge is to ensure that its emphasis on emerging talent is reflected in the practical arrangements available to participants from different backgrounds.
Why a recurring art festival matters to Enugu
Hosting a national art festival can create opportunities for a city to bring artists, visitors and cultural organisations together.
For Enugu, the finale offers a programme of exhibitions, talks, screenings, tours and other activities that can draw people into cultural venues and provide opportunities for engagement with the arts.
Events of this kind can create demand for services such as accommodation, transport, food, printing, event support and other local business activities. The scale of any economic effect depends on attendance, visitor spending and the extent to which organisers and participants use local services.
No verified forecast for the 2026 festival's visitor numbers or economic impact was established in the sources reviewed. It would therefore be premature to assign a specific financial value to its contribution to the city.
Nevertheless, the festival's programme creates a practical reason for visitors to encounter Enugu through its cultural institutions and creative community.
Art and cultural events can also contribute to a city's longer-term identity by establishing recurring occasions for people to meet, view work and exchange ideas.
The benefit is not limited to commercial activity. Cultural programmes can strengthen the visibility of local artists, provide educational opportunities and encourage conversations about the region's artistic history.
Enugu's hosting role may also help demonstrate that a national visual arts programme can operate outside the largest commercial gallery market while attracting participants from different parts of Nigeria.
The long-term value of that model depends on continuity. Venues, educational institutions, businesses and cultural organisations must be able to sustain relationships beyond the closing ceremony.
What visitors can expect from the exhibition
The national exhibition is scheduled to open on Wednesday, 28 October, at the International Conference Centre of the Institute of Management and Technology in Enugu.
Visitors can expect to encounter works selected from the regional stages, with categories covering photography, painting, watercolour, sculpture and installation, ceramics, graphics and digital or video art, textile and fashion art, drawing and related practices. (Official LIMCAF competition page)
A gallery visit can provide a different experience from looking at individual works online. Visitors can observe scale, texture, material choices and the relationships between works placed in the same exhibition space.
A painting that appears simple on a screen may reveal fine details when viewed in person. A sculpture may change in appearance as visitors move around it, while an installation may depend on how its components occupy a particular space.
The exhibition also provides an opportunity to read accompanying information and consider the relationship between the work and the theme.
Visitors do not need to agree with an artist's interpretation to engage with it. Looking closely, asking questions and considering different perspectives are part of the experience of contemporary art.
The organisers' public information describes the 2026 event as free to attend, with visitors directed to register for a pass through the official festival website. Those planning to attend should check the current programme and registration details before travelling, because individual activities may have different arrangements. (Official LIMCAF website)
Gala night and the announcement of winners
The festival's gala and awards night is scheduled for Saturday, 31 October, at the International Conference Centre, IMT, Enugu.
Obi Asika, Director-General of the National Council for Arts and Culture, is expected to chair the gala. Paul Usoro, former president of the Nigerian Bar Association, is also associated with the event. The Guardian's report says the gathering will bring people from different parts of Nigeria's creative and corporate communities together. (The Guardian)
The awards will mark the formal conclusion of the 2026 competition, recognising selected works across the festival's categories.
For participating artists, the ceremony is the culmination of months of preparation, regional exhibitions and selection. It also provides an opportunity for their work to be seen in the context of a national programme.
The winner of the overall young-artist award and the category recipients will receive recognition according to the festival's published arrangements. The El Anatsui travel prize is intended to provide the top six artists with an opportunity to attend the Dakar Biennale in Senegal. (Official LIMCAF competition page)
The event will also bring together artists and supporters who have contributed to the festival's operation over time.
However, the results will represent the jury's assessment of the selected entries, not a definitive ranking of all Nigerian artists. A competition can recognise particular works within a specified brief, but artistic development continues well beyond any single award.
The value of the finale will therefore lie both in the formal recognition it provides and in its ability to encourage further opportunities for the people whose work it showcases.
Looking towards the 20th edition
The 2026 festival also looks ahead to an important milestone. Next year's edition will be the twentieth since LIMCAF began in 2007.
The Guardian's latest report describes that forthcoming edition as an opportunity to reflect on the festival's development and the work required to sustain its role in supporting young artists. (The Guardian)
Reaching a twentieth edition would provide an occasion to document the festival's history, examine the paths taken by past participants and consider how its programmes have changed over time.
The history of an initiative such as LIMCAF can be understood through more than its winners. It also includes the people who took part without receiving major awards, the organisers who maintained regional activities, the institutions that provided venues and the supporters who helped meet the costs of exhibitions.
An anniversary could provide a useful opportunity to examine which forms of support have proved most effective and where further work is needed.
It could also help the festival consider how it responds to changes in artistic practice, including the increasing use of digital media and mixed forms, while maintaining its commitment to young talent.
The next edition's success will depend on the resources and partnerships available to sustain the work, not simply on the significance of reaching a round-number anniversary.
For now, the immediate focus remains the 2026 finale and the opportunity it offers the selected artists to present their work to a wider audience.
What happens next
The festival's final week begins on Tuesday, 27 October, followed by the opening of the national exhibition on Wednesday, 28 October. The programme will continue with its announced cultural and professional activities before the gala and awards ceremony on Saturday, 31 October.
The 100 selected artists will present their work at the national stage, while the jury chaired by Chike Obeagu will determine the award recipients. Professor Jerry Buhari's role as curator will shape how the exhibition brings the selected works together. (Vanguard; official LIMCAF website)
The public can consult the festival's official website for current registration information and programme updates.
The results of the finale will establish which artists receive the awards and travel opportunity, but the wider outcome will be measured over a longer period: whether the festival strengthens the connections, visibility and professional prospects available to the young artists who participate.
Conclusion: giving Nigeria's young artists a national stage
The 19th Life in My City Art Festival brings together a national selection of young Nigerian artists under the theme Open Letter, which asks how individual creativity and public expression can contribute to a wider conversation about society.
Its exhibition, awards, workshops and cultural activities provide opportunities for emerging artists to show their work, encounter new audiences and connect with more established practitioners.
The festival's history since 2007 demonstrates the continuing value of a platform that links regional participation with national exhibition opportunities. Its awards and travel prize provide additional recognition, while the programme on Obiora Udechukwu and the AKA Circle of Artists connects the current generation with the history of artist-led initiatives in eastern Nigeria.
Yet the work of developing young artists extends beyond a single week. Sustained professional opportunities require access to materials, training, audiences, exhibition spaces, patrons and the resources needed to continue producing work.
As the Enugu finale approaches, the immediate question is how the selected artists will interpret Open Letter and what audiences will discover in the national exhibition. The longer-term question is whether the connections established during the festival will help participants continue developing their practices after the awards have been announced.
The event is scheduled to conclude with its gala on 31 October, with the winners to be determined by the national jury.
Simpson Global Media will continue to report on the festival, the winning artists and significant developments in Nigeria's visual arts and cultural sector.
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