Exhibitions ending soon in London

"The rounded, white plaster objects are cut open to reveal deep blue interiors that seem immemorial, although Hepworth has simply painted them. Across the blue illusionistic depths, red-painted strings are tautly fixed. The red strings might suggest seaweed if, like me, you can't get nature out of your head looking at these abstract yet evocative works."

"In that regard, and in staking her claim as an active participant in how she was perceived during her lifetime, it's a success. But Monroe is so chameleonic, so charming, so conscious of audience and image that – between star and photographer – we only get an occasional glimpse of the human behind the pictures."

"But the exhibition does not sing. It spits out theory instead. Every section is framed as an essay, with artworks chosen to illustrate an argument: one bay is based around the ideas of sociologist Stuart Hall, which the works don't seem to illustrate anyway. This is a show that wants to conjure up a utopian place, Panafrica, and make it real, which would be a powerful piece of political enchantment."

"It's rare that an exhibition is so bad you feel compelled to text a friend saying "you wouldn't believe the garbage I just saw" as soon as you get out. And if you can walk around this badly explained, undercontextualised, barely linked, poorly thought through mess of a show without getting a migraine, you have a stronger constitution than me."

"Escher, this utterly traditional artist, makes you see that we walk a world we don't understand. We are his funny little people, going up and down the stairs, thinking we ascend or descend when we're on the flat, propping up our everyday lives with cosy assumptions to hide from the infinite, the impossible real."

"And she is magnificent — not merely critically, but commercially. Brown is among the most expensive living female painters in the world, her canvases commanding prices that would make lesser talents weep. The market, for once, is not wrong."

"Less enthusiastic visitors might not care so much about the significance of using Chinon silk versus Mercury satin. However, Paint! Pattern! Print! is undoubtedly a feast for the eyes, with explosions of colour at every turn. Appreciators of technicolour painting, fashion and good design will find plenty to enjoy here."

"Yet art rock is not art. In a live gig or on vinyl (White's preferred medium), sounds and words, gestures and rhythms, create atmospheres that can be elusive and fragile in their romantic power, even when the lyrics are banal or nonsensical. But as a visual artist, White is a complete nonstarter."