Fifty exhibitions in as many weeks; this revival of the 'fig-1' project from 15 years ago is a surprising success
Christian Marclay at White Cube; 'Self' at Turner Contemporary; Piero di Cosimo at the NGA Washington; Jeremy Gardiner at Victoria Art Gallery
The most striking of these works are the ones that resist the temptation to represent, that refuse to be too literal about the littoral
Tuymans made his thoughts about Belgian copyright law known at his exhibition opening last week
It's tempting to focus on the big loans, but the star of this particular show was in Washington all along
Female artists are well represented in this show; a deliberate strategy that prompts a more critical questioning of the genre
'Surround Sounds' is excellent, but not all of Marclay's latest work lives up to the hype
Flesh and sex – the legacies of Rubens and Sade; two views of the 20th century's torn and tattered art; and the story of Lancashire's philanthropic industrialists
Lancashire collections in London
Surveilling surveillance...
The wider significance of 'Ponte City'
'La Peregrina' is like a dip in icy water after Rubens' opulent works
Libertine, criminal, aristocrat, revolutionary, and prolific author – the Marquis de Sade continues to inspire some great art and exhibitions
The Hudson River School at LACMA; self-portraits at Turner Contemporary; Conscience & Conflict at Pallant House; Poliakoff at Timothy Taylor
The Spanish Civil War had a huge impact on the life and work of many British artists
Timothy Taylor Gallery presents the first solo UK presentation of the artist's works in over 50 years
The New-York Historical Society has sent a spectacular group of landscape paintings to LACMA this winter
'Unseen' at the Courtauld Gallery; Blake at the Ashmolean; Moroni at the Royal Academy; and sculptors' drawings in Boston
There can be little argument with the quality of the works; but there is, to put it mildly, a lot to take in
The Royal Academy's exhibition presents Moroni’s portraits in their wider context
An exhibition of drawings by Renaissance sculptors provides valuable insights into both mediums
Toulouse-Lautrec at MoMA; Shostakovich's ballet at GRAD; Walid Raad in Hamburg; and photographs at the Science Museum
Two of Raad's career-defining projects reveal the balance of rigorous research and subtle wit that informs his work
Shostakovich's 1931 ballet was pulled from Russian theatres after just one performance; now, a show in London tried to bring it back
