Gary Grimes

When it comes to art and exhibitions, London has it all. From the niche spaces, to the avant garde galleries, and the massive crowd-pleasing museums, our city is packed with shows that will perplex, challenge, inspire, educate and leave you feeling awestruck.  The problem is... there’s absolutely tons to see. Too much, you could say. Lucky for you, Time Out exists. For decades, our experts have been visiting and reviewing all the sculpture, painting, performance, photography, history, fashion and other types of exhibitions on offer. You name it, we’ve (probably, most likely) seen it. If you’re wondering what’s actually worth your time, start here. Check out the best museum exhibitions and art in London right now, and be sure to come back weekly for the latest picks. Stay in the loop: sign up to our free Time Out London newsletter for the best of the city, straight to your inbox. RECOMMENDED: Best photography exhibitions in LondonBest free exhibitions in London

At first sight, Candice Lin’s g/hosti, a new commission from the Whitechapel Gallery, evokes a childlike playfulness. At its centre is a maze of cardboard panels which are painted with animals like dogs, cats, and mice, cavorting in a mythical forest. Its simplistic style and bright, warm colours feel akin to the sort of whimsical mural you might find painted on the wall of a primary school. The more you weave through the circular labyrinth, however, the more you realise you’re immersed in something altogether more sinister and political than first meets the eye. Along the perimeter of the room, printed on the wall in a tiny font, you’ll find a gory fable, written by Lin. It tells the story of a man who tears tumours out of his body, and introduces us to the animals we meet in the maze, whom he then sends into the forest to collect items to help him live. The fairytale eventually dovetails into Lin’s ruminations on time and language. What could be trite is actually affecting and adds to the sense of storybook innocence that permeates the entire exhibition. I’d recommend doing a lap to read this in full first, as it sets the scene for the rest of the show. Upon entry to the labyrinth, Lin’s painterly brushstrokes are used to great effect to conjure images of fires burning and what, at first, appears to be animals playing. On closer inspection, you’ll find, however, the animals are often involved in some form of maiming, jumping through flames or playing with a human cadaver. C

‘Fun’ is a quality which seems to be all too frequently forgotten by curatorial teams. But it certainly takes pride of place at the Saatchi Gallery’s The Long Now, an expansive, nine- room retrospective which aims to both celebrate its past and reiterate its commitment to championing innovation in the present and future. The show is curated by Philippa Adams, who previously served as the gallery’s Senior Director for over 20 years, and is divided into spaces dedicated to key themes which have underpinned its exhibitions over the last four decades. Abstraction, landscapes, AI and technology, and climate change are all given their own rooms. They’re populated with works, old and new, by artists with whom the gallery shares a long-running history, as well as commissions from emerging artists.A reinvention of the wheel, conceptually speaking, it may not be, but it’s a bona fide feast for the eyes. Across two floors, each room has been curated and installed with care to ensure every piece in the room can shine - no space feels overstuffed. Adams has clearly given careful consideration to how the works will complement each other, both in terms of colour and scale, which enhances the viewing experience and makes you want to linger in every room. It’s a rarity that you find yourself at an exhibition where you genuinely don’t know where to look. However, starting from the very first room, dedicated to mark making and boasting Rannva Kunoy’s marvellous, luminescent, scratch-art-esque w

House of Music, the latest solo exhibition by Peter Doig, marks new territory for the artist who is increasingly known for being Europe’s most expensive painter, thanks to his works repeatedly selling for record-breaking, eye-watering sums on the secondary market. The show is Doig’s first foray into integrating sound into his work, through the inclusion of two sets of restored, cinema-standard analogue speakers which take centre stage in the Serpentine South Gallery, surrounded by a series of new and old paintings which relate to the artist’s love of music. The aim appears to be to transform the gallery into a listening space, something akin to the many hi-fi listening bars which have been popping up in spades around the UK in recent years, or Devon Turnbull’s excellent and hugely popular Hi-Fi Listening Room at Lisson Gallery the year before last. A smattering of plush recliners and chic tables and chairs are dotted around the various rooms, inviting art lovers to sit and enjoy the sounds of Doig’s personal vinyl collection as you take in the sights of his mesmerising, large scale paintings inspired by his time spent living in Trinidad, observing the country’s sound system culture which seemingly had a profound effect on the Scottish painter.  The only problem is, despite going to great lengths to acquire these mammoth speakers - they were ‘harvested from derelict cinemas’ by Doig’s collaborator Laurence Passera - you can’t actually hear the music very well. A private view o