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Wear comfortable clothes and flat shoes to visit Move: Choreographing You at the Hayward, because to experience this exhibition properly, you will be swinging, crawling and balancing your way through the galleries. This vast show takes into account dance and contemporary art since the 1960s, and it's based on the premise that you, the visitor, are the dancer, and that the objects in the space manipulate your movement somehow. So you will find yourself squeezing sideways down Bruce Nauman's very narrow Green Light Corridor, feeling trapped and anxious, or stumbling in the dark through Lygia Clark's The House Is the Body. Penetration, ovulation, germination, expulsion, which creates a kind of brilliantly barmy sense of inhabiting a woman's body and then being born out of a woolly chamber. You can swing across the gallery (no easy task) on a series of gym rings by William Forsythe and goose-step over buckets of water in Trisha Brown's Stream on the outdoor sculpture terrace. A couple of Robert Morris's brilliant Bodyspacemotionthings, sculptures for balancing on, are here, subversive in the sense that they always feel rather dangerous.

The Hayward Gallery has quite quickly settled into the habit of putting on a blockbuster show each summer, kicked off by Antony Gormley's Blind Light show in 2007. The gallery entices visitors, like a fun palace, inviting them to "Sail on a Boat!" "Bounce up and down!" in the name of art and pleasure. However, among the crowd pleasers, so to speak, there are often some great and very enjoyable artworks, and The New Décor and Ernesto Neto's current exhibition are a continuation of this mixed tradition.

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