Fancy checking out some art this week but don't know where to start? Have a flick through our selection of the best shows on at the moment and take your pick. With galleries spread all over the city and an art scene as changeable as London's, we've divided it into areas to help keep track. Everything featured below got a shiny four or five-star review from us, but check out all the latest art reviews for more.
Some people mellow with age, but not Annette Messager. She’s only become angrier, fiercer and more bitter as she’s headed into her seventies. The French artist has been a massive figure in continental art for decades, and this new show is her at her most acerbic and surreal.
Although Howard Hodgkin had been creating portraits since the age of 16, this is the first time they’ve been brought together for a solo show. But he never got to see the final result: the 84-year-old British artist died just two weeks before the opening of this exhibition.
Bad reasons for wanting to be friends with someone: 1) to use their fame to help further your career 2) to use their talent to undermine your biggest rival 3) to use their HMV staff discount card. Two out of three of those terrible friendship ingredients are in the slightly unpalatable visual soup that is Michelangelo & Sebastiano.
You get the feeling that Bucharest-based Geta Brătescu is taken very seriously in the Romanian art world. On the eve of her 91st birthday, she has been chosen to represent her home country at the 2017 Venice Biennale.
The 14 artists in this show all work in photography – but with all sorts of chicanery going on behind the scenes. Whether it's Jeff Wall's artfully staged tableaux or Thomas Ruff's pixellated .jpegs, none of the images on display here should be taken at face value.
Mental asylums. Mind-altering drugs. Dirt. The Wellcome Collection has carved out a rep for delivering exhibitions that are outlandish without ever being sensationalist. And while the premise of their latest show – the relationship between humans and animals – might not have the same WTF factor, it’s still just as quirky and enthralling. The first room kicks off with the Enlightenment-era craze for natural classification.
Paolozzi wanted to produce art so badly that he faked his own madness. He was stationed on a Slough football pitch with the Pioneer Corps at the time, so who can blame him? Slough’s loss was the world’s gain: without Paolozzi there would be no pop art, and no vibrant mosaics at Tottenham Court Road.