An exhibition dedicated to the Belgian surrealist René Magritte opened recently at the Gagosian Grosvenor Hill gallery in London, offering a substantial look at the artist’s work alongside pieces by contemporary artists influenced by him. Running through December 12, the show, titled *This Is Still Not a Pipe: The Afterlife of Magritte*, presents approximately 70% of its collection from Magritte’s own oeuvre, with the remainder drawn from a range of artists whose work bears varying degrees of connection to his style.

Magritte, who lived from 1898 to 1967, has not been the focus of major exhibitions in recent years, lacking a clear commemorative milestone to spur attention. This show aims both to reaffirm his significance and to reexamine the trajectory of his later career. Among the highlights is *The Listening Room* (1958), featuring the artist’s iconic oversized green apple motif, which retains its eerie, claustrophobic quality despite its widespread reproduction.

The exhibition challenges common perceptions of Magritte as the most lightweight among surrealists, demonstrating through works such as *The Red Model* (1948) and *One Night Museum* (1927) that beneath the playful surfaces of his familiar imagery lies a more unsettling dimension. These pieces suggest a darker undercurrent that complicates the straightforward whimsical reading often assigned to his work.

A significant portion of the show addresses Magritte’s so-called *période vache* (cow period), usually characterized by a marked stylistic shift from 1948 onward. During this phase, Magritte adopted a more cartoonish, Disney-inspired aesthetic that has historically drawn criticism. The exhibition includes examples from this period that confirm its polarizing reputation. However, it also highlights his subsequent return to earlier styles, with works like *The Leader of the Band* (1955) and *The Well of Truth* (1967), illustrating that while these later creations do not reach the heights of his early output, they still contain enigmatic and intriguing elements.

The show concludes with a selection of artists who have been influenced by Magritte, though their contributions have met with mixed success. Critics suggest that many of these contemporary pieces only loosely engage with Magritte’s legacy, often conflating surrealism with a broad affinity for the unreal. Notable exceptions include Sarah Lucas, John Currin—whose work echoes aspects of the *période vache*—and Jeff Koons. The Japanese artist Soshiro Matsubara was also singled out as a promising presence among the disciples.

Overall, *This Is Still Not a Pipe: The Afterlife of Magritte* offers a robust reintroduction to one of surrealism’s most recognizable figures. While the homage paid by other artists is uneven, the exhibition provides a nuanced view of Magritte’s artistry, underscoring the complex tensions that animate his seemingly playful imagery.