The Exhibition: Come and See: Jake and Dinos Chapman, Serpentine Sackler Gallery, London

What is it? A retrospective of the work of Jake and Dinos Chapman.

Miss Pokeno's 'Cake Bed'

Miss Pokeno and The Sisters of Perpetual Resistance: Review - 'militant feminist art'

HQ, London: While female artists a few years ago cynically used feminist imagery but rejected the label, this exhibition is committed

David Lynch, Untitled (England). Late 1980s, early 1990s

David Lynch unveils photographs of desolate factories in new exhibition

A recurring motif in his films, Lynch first started photographing abandonned factories in the early 1980s

‘Floating Island’ by Makiko Kudo

Body Language at the Saatchi Gallery: A mixed body of work

The Saatchi Gallery's new exhibition shows that figurative art is alive and kicking, especially in America. But the artists' vast canvases and impressive use of colour can't disguise their lack of graphic skills, says Adrian Hamilton

Bruce Munro's 'River of Light' is 'dazzling but not necessarily in a good way'

Arts review: Bruce Munro, Winter Light At Waddesdon

Waddesdon Manor, Buckinghamshire

Bob Dylan's gates are welded out of vintage iron and metal parts

Bob Dylan Mood Swings exhibition: review - Iron gates 'are inoffensive and need some bite'

Bob Dylan's new iron sculpture exhibition is lacking dynamism, but the musician proves himself to be a talented polymath rather than a hobbyist

‘Saying Farewell at Hsun-yang’ by Qiu Ying

Unscrolling the masterpieces that were made in China at the V&A

The UK's first major exhibition of Chinese paintings since 1935 reveals that far from being monolithic, the art of the country is highly individualistic, propelled by artists with their own distinctive styles

James Balmforth's

Art review: Open Heart Surgery, The Moving Museum, London

The title of this exhibition refers not to a theme of blood-thirsty conceptualism, but the intimate, delicate nature of the artworks included. Art is indeed a painful process, involving much inner probing.

'Untitled, 2010' by Louse Bourgeois, an artwork in her exhibition at the Scottish National Gallery of Modern Art

Art review: Louise Bourgeois - A Woman Without Secrets

French-born New Yorker Louise Bourgeois (1911-2010) is perhaps the greatest female artist of the 20th century. She is also one of the greatest artists full-stop, but her work is powerful because it expresses the hunger and ferociousness of a particularly female kind of experience.

'Seated Male, holding left knee, left profile', by CJ Natoire

Art review: The Male Nude, The Wallace Collection, London

The male nudes in the Wallace Collection’s new exhibition display  a painstaking proficiency, but they’re unlikely to arouse much passion, says Adrian Hamilton

A woman looks at Cupola by Victor Sydorenko at the preview of the new Contemporary Ukrainian Artists exhibition

Art review: Contemporary Ukrainian Artists, Saatchi Gallery, London

What does Ukrainian art bring to mind? Walking around this exhibition of miscellaneous contemporary artists, two themes are noticeable: first, the image of people watching disaster unfold, impassive. Second, the image of muscular bodies falling gracefully through space.

‘The Last of Old Westminster’ (1862)

The river runs deep: Whistler in London

A new exhibition of Whistler’s etchings and paintings of the Thames displays his extraordinary talent for capturing the atmosphere and bustle of life in 19th-century London, says Adrian Hamilton

Review: Paul Klee, Tate Modern

What is it? The EY Exhibition at Tate Modern, which provides a thorough, in-depth look at the popular Modernist artist, taking a chronological long-view.

Anna Fox, Country Girls 1999. From the series Country Girls 1996-2001.

Arts review: Alison Goldfrapp- Performer as Curator

Alison Goldfrapp's curated exhibition offers an interesting opportunity to get inside the mind of an undeniably serious talent

James Cauty, The Aftermath Dislocation Principle Parts I and II

Art review: James Cauty, The Aftermath Dislocation Principle Parts I and II

When you walk into this gallery under the arches of Hoxton Station, you are confronted by a spectacle in the best sense. The Aftermath Dislocation Principle Part I (2013) is a large installation of a post-apocalyptic Britain in which all the familiar signs of civilization have been ravaged.

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