In 2022, after construction and delay caused in part by the Covid-19 pandemic, the local launch was held and the G.A.S. Fellowship Award, an annual initiative in collaboration with the Yinka Shonibare Foundation to support mid-career artists and curators across Africa was announced.  

Winning the award was “very affirming [and] validating… It felt like the work I was doing was recognized,” said 2024 honoree Amanda Iheme, citing the somewhat familiar experiences of artists not getting grants, awards, or residences that they apply for—especially in a climate when one’s fame and one’s artistic concerns can influence who ultimately wins out. She added that she liked that it was a local residency—she’d been wanting to participate in a program located in the place where her work is focused.

In May and June, G.A.S. Foundation welcomed a vibrant cohort of artists, writers, and scholars whose practices spanned sound, photography, literature, and visual storytelling. Over residencies and internships ranging from three to eight weeks, they immersed themselves in Lagos and beyond, engaging in research, fieldwork, community workshops, and public programmes that explored themes of memory, identity, archives, and collective imagination. Their time with G.A.S. fostered meaningful cross-cultural exchanges and culminated in events that opened up new spaces for dialogue and collaboration within the wider creative ecosystem.

On Saturday, 19th July 2025, G.A.S. Lagos hosted the screening of God Knows Best, a directorial debut of Nigerian screenwriter and filmmaker Nicole Asinugo. Presented in collaboration with the Osahon Okunbo Foundation, the event introduced audiences to a quietly powerful short film that follows Simi, a young widow in Lagos who begins driving her late husband’s danfo bus to support her family. Navigating grief, financial strain, and social judgement, God Knows Best offers a reflection on resilience, womanhood, and reclaiming one’s identity in the face of loss.

In June 2025, Guest Artists Space (G.A.S.) Foundation, in partnership with the Yinka Shonibare Foundation (Y.S.F.) announced the 2025–26 edition of Re:assemblages, a dynamic, multi-year programme designed to foster collaboration and experimentation across postcolonial art archives and library collections. This ambitious initiative reimagines the stewardship and activation of African and Afro-diasporic art archives, and will result in a rich constellation of international convenings, symposia, micro-publications, and a research intensive.

In June 2025, Guest Artists Space (G.A.S.) Foundation, in partnership with the Yinka Shonibare Foundation (Y.S.F.), launched The Short Century Intensive, a fellowship designed to support artistic and scholarly inquiry into the cultural and political histories of the mid-to-late 20th century.  As part of the second chapter of Re:assemblages, a dynamic, multi-year programme designed to foster collaboration and experimentation across postcolonial art archives and library collections, the intensive is anchored by Okwui Enwezor’s seminal 2001-2002 exhibition The Short Century: Independence and Liberation Movements in Africa 1945–1994, which examined the intersections of art and politics during a period of intense struggle and transformation across Africa. Taking this archive as a provocation, the intensive asks: what forms of relation, refusal, and repair remain possible in the afterlives of this compressed century?