Latest News About Grayson Perry: Delusions Of Grandeur

Here’s what’s widely reported about Grayson Perry: Delusions of Grandeur as of 2025–2026.

Direct answer

• Grayson Perry: Delusions of Grandeur is a major exhibition he created around the Wallace Collection in London, featuring more than forty works that reinterpret or respond to the Wallace Collection’s holdings. The show ran from March 2025 through October 2025 at the Wallace Collection, with the narrative centered on a fictional figure, Shirley Smith, and included works in ceramics, tapestries, sculpture, and other media. [Sources note mentions of the Wallace Collection venue, the narrative framing, and the run dates.]

Context and reception

• The project is described as Perry’s latest large-scale, theatrically conceived show that pairs his new works with outsider-art references (Aloïse Corbaz and Madge Gill) and engages themes of entitlement, mental health, gender, and class. Reviews indicate a mix of admiration for craftsmanship and some critique of the concept or tone, with particular attention to how the show sits within the Wallace Collection’s historic setting. [Guardian review notes the run dates and the show’s framing; other outlets discuss the ambitious scope and critical reception.]

Key takeaways by angle

• Concept and narrative: The show unfolds as a theatrical, fictional world surrounding Shirley Smith (a character Perry uses to explore ideas about inheritance, identity, and the role of art in society) while placing real outsider artists’ works in dialogue with the collection. This blending is a central feature of the exhibition’s storytelling. [Arbuthurian-style overview and Guardian piece discuss the Shirley Smith framing and the juxtaposition with real works.]
• Scope and media: Expect a multidisciplinary presentation that includes ceramics, tapestries, sculpture, and works on paper, designed to reframe or reinterpret items from the Wallace Collection. The scale is described as among the largest contemporary incursions into the Wallace’s space. [Ian Visits calendar note and exhibition descriptions.]
• Critical reception: Early reviews acknowledge Perry’s skill and craft but diverge on whether the narrative framing and editorial stance fully land with audiences, with some critics calling out pomposity or a disjointed tonal shift. Readers should anticipate a show that is as provocative as it is visually rich. [Guardian review summary; Telegraph/Week summaries offer varying takes.]

What it means for visitors or researchers

• If you’re planning to visit, the Wallace Collection pages or major press reviews are good resources for practical details (dates, tickets, opening hours) and for understanding the exhibit’s room-by-room approach and its integration with the collection. [Wallace Collection references and major outlets.]

Illustration example

• A representative image you might encounter is Perry’s elaborately glazed ceramics and sculptural pieces displayed alongside Wallace Collection works, often with bold color and inventive symbolism that foregrounds the artist’s alter-ego narrative and the Shirley Smith concept. This pairing is central to the exhibit’s visual language.

Citations

• The show’s framing (Shirley Smith, 1930–2013) and its integration with the Wallace Collection are described in multiple reviews and exhibition notes [Guardian review; Arbuthurian article].
• Run dates and the scope of works (including ceramics, tapestries, and furniture) are noted in exhibition coverage and event listings associated with the Wallace Collection’s presentation [Ian Visits events page; wallacecollection.org communications].

If you’d like, I can pull up the latest local listings or review quotes to pull exact statements and dates, or summarize a specific critic’s take in more depth.