Gallery 2

Hope to Nope: Graphics and Politics 2008-18

Public engagement with politics has changed dramatically since 2008. Discover how graphic design and technology have played a pivotal role in dictating and reacting to the major political moments of our times.


Exhibition free from 1 to 12 August

From the 1 August, some artwork was removed from the exhibition, before the exhibition's closing date of 12 August, at the request of the lenders. As a result, and until the end of the run, the exhibition was free to visit.

'We are sorry for any disappointment caused for visitors. We believe that it is important to give political graphics a platform at the museum and it is a shame that the exhibition could not continue as it was curated until its original closing date'.

Alice Black and Deyan Sudjic, the Design Museum Directors.

This exhibition is now over

What to expect

Graphic design in the form of internet memes, posters and protest placards is being used by the marginalised and powerful alike to shape political messages like never before.

Age guidance 7+

DISCLAIMER: The views displayed in the exhibition are those of the individuals and organisations that created them – some of which may cause offence. The Design Museum does not necessarily agree with such views, nor does it consider them to be necessarily justified, truthful or accurate.

Women's march, Washington DC,January 2017. Image credit: Chris Wiliams Zoeica

Image credit: Charles Albert Sholl

All-Seeing Trump

Image credit: Scott Wong

Je Suis Charlie, image credit: Paul SKG


Hope to Nope In-Depth

In this collection of interviews, the Design Museum spoke to some of the visual artists featured in the Hope to Nope: Graphics and Politics 2008-18 exhibition about their design stories, challenges and aspirations.


With thanks to

The Design Museum has partnered with audience intelligence firm Pulsar in order to create data visualisations which uncover the impact of social media conversations around global political leaders.

Background image | Image credit: Andy McArthur