Through working on exhibitions, designer Misha Black (1910-1977) created and sustained an extensive network across five decades and many continents, engagements that impacted on his changing personal and professional identities. This article, through interrogating Misha Black’s work, focuses on exhibitions as sites of personal and professional ‘entanglement’ across time and space, in a single career. It thereby links exhibitions, which are often considered in isolation in historical accounts. In Black’s case, through successive commissions, he developed ideas about exhibitions as communications or propaganda, as well as modelling formations in professional design practice. Examples included here are The Seville Exhibition, 1929-30; MARS Group Exhibition, 1938; Glasgow Empire Exhibition, 1938; New York World’s Fair, 1939-40; Ministry of Information exhibitions during World War Two and the Festival of Britain, 1951.