Cady Noland, one of the most elusive figures in contemporary American art, will show new work at Gagosian's Davies Street gallery in London from 12 October to 19 December 2026. The presentation is the artist's first exhibition in Britain in more than three decades, and the work has been made specifically for the Mayfair space. Noland has long dissected the structures of American life, and this show returns to that territory: the material and symbolic architecture of national identity, the machinery of power, celebrity culture and racism, and the violence folded into everyday images. The exhibition is paired with the relaunch of The Clip-On Method, a two-volume, 600-page publication first issued in 2021 that Noland conceived, edited and designed herself. She treats the book as an artwork in its own right rather than documentation. It functions as a non-linear archive of four decades of practice, combining extensive photographic records of her sculptures and installations with sociological, political and historical texts, alongside her own writings, including her 1989 essay Towards a Metalanguage of Evil, which the gallery notes has renewed resonance now. Among the works exhibited is Untitled Xerox Cut-Out (Martha Mitchell), made between 1989 and 1994, a cut printed-paper piece held in a frame of the artist's own making. It is typical of Noland's method of recombining found and degraded images into arrangements that feel both clinical and charged. Her recurring concerns run through the announcement: the mythology of American identity, systems of power and control, violence, celebrity, racism, media culture, and the psychological frameworks that hold social behaviour in place. For a gallery programme increasingly built around legacy-defining presentations, landing Noland is a notable coup. She shows rarely, guards her output tightly, and has repeatedly challenged the market's handling of her work. A UK return after such a long absence will be watched closely, not least because her analysis of power, violence and the image economy has only grown more current in the intervening years.