Scottish artist Nnena Kalu has won the 2025 Turner Prize, becoming the first artist with a learning disability ever to receive Britain’s most prestigious contemporary art award. At 59, Kalu — who is autistic and has limited verbal communication — was honored for her vivid sculptures and drawings, including large-scale “cocoon-like” installations made from found materials such as fabric, rope, VHS tape, and clingfilm. The jury praised her work as “bold and compelling,” celebrating the powerful presence, scale, color, and emotional depth of her art.

The choice is widely being called a watershed moment in the art world. According to the jury, chaired by the director of Tate Britain, the award was decided purely based on artistic merit — but many see it as a powerful sign that the boundary between neurotypical and neurodiverse artists is beginning to erode. For decades, many talented artists with disabilities have been sidelined — their work dismissed, unknown, or misunderstood. By awarding Kalu the Turner Prize, the art establishment has acknowledged that creativity and artistic excellence cross traditional boundaries of ability, communication, and background.

This recognition doesn’t just reward one individual — it signals a shift. It opens doors not only for disabled artists seeking exposure and respect but also for institutions to re-imagine who can belong in mainstream art spaces. For many in marginalized communities, Kalu’s win is a message: your voice, your form of expression, your lived experience — all of that matters. Now the challenge is whether this moment will lead to broader change, or remain a singular exception.

My Thoughts

To me, Nnena Kalu’s win shows exactly why people with disabilities need to be placed in positions where they can make real, visible change. I’ve always said that if we don’t step into those roles ourselves, then who will do it for us? Her victory proves that when disabled people are given platforms and opportunities, the world gets to see our talent—not just our disability. The judges recognized her artistry first, and that sends a powerful message: our community deserves to be seen, valued, and celebrated for what we can create.

Even with a historic win like this, I know there will still be artists with disabilities who won’t get chosen — not because they lack talent, but because many people still don’t understand disability or the experiences behind our art. A lot of artwork comes from personal life stories, and when decision-makers don’t understand those stories, they often overlook the artist altogether. That disconnect creates an invisible barrier. It’s not always intentional, but it’s real. Institutions need to do more than celebrate one disabled artist — they need to create spaces where our perspectives are understood, valued, and judged on their artistic merit instead of filtered through stereotypes or confusion.

This moment shows exactly why people with disabilities need spaces where they’re fully accepted for their creativity, not judged or limited by their disability. Even though this was a historic win, I don’t think it will automatically change everything in a meaningful way. It might open some doors, but real change takes more than one moment — it takes systems built for us, not just around us. That’s what I’m trying to do through my businesses and media platforms: create real employment, real belonging, and real leadership opportunities for people with disabilities. I want to put disabled people in positions where they can actually shape decisions, influence companies, and create the change they want to see in the world.

Sources

    •    The Guardian: “Nnena Kalu becomes first artist with a learning disability to win Turner prize”     •    Financial Times: “Nnena Kalu wins 2025 Turner Prize”     •    Associated Press / The Washington Post: “Scottish artist Nnena Kalu awarded Turner Prize 2025, first in history with learning disability”

Question to Consider

If the Turner Prize’s recognition of a learning-disabled artist signals a shift in how elite institutions evaluate art, what concrete steps should galleries, funders, and arts educators take now to turn symbolism into sustained access and opportunity for disabled artists?