Exhibitions on now in London

"In parts of the show, Moore's love of natural forms seems to run counter to the Victorian splendour of Kew. One of his bone-like pieces, Three Piece Sculpture: Vertebrae (1968-69), sits in front of the Palm House. Moore's irregular, undulating tripartite form seems to echo – or mock – the pane-glass and wrought-iron symmetry of the older building."

— The Telegraph

"Then, in 1865, Whistler suddenly paints the sea as if it was a piece of silk decorated with white lace and a ribbon. Green and Grey, Channel is a stunning declaration of artistic independence. He takes the sea, the element humans can't control, the roaring theme of Turner's visions, and makes it a painterly plaything."

— The Guardian

"Like someone laying out every qualification in a job interview, she throws everything she can into the canvas. In The Triumph of Bacchus, which now rivals Diego Velázquez's more famous version of the same subject."

— TimeOut

"The word 'visionary' is done to death but the 17th-century Spanish painter Francisco de Zurbarán demands it: he paints supernatural things naturally and natural things supernaturally. Space becomes different in his world, melting distance and erasing the barrier between you and the picture."

— The Guardian

"The Texan is the third film-maker to be given a retrospective at the Design Museum, following Stanley Kubrick and Tim Burton, and this is the pick of the three. Cinema like this can feel incredibly extravagant — some canine puppets for Isle of Dogs took three years to make and were on screen for a matter of seconds. Here, though, you can spend time with it all."

— The Times

"In Anderson's work, the natural world is almost ominously abundant. Greenery seems to suffocate man-made structures, which often appear dilapidated – like ruined temples in a jungle. The sense of melancholy this generates is offset by the pleasure that Anderson evidently derives from manipulating paint. His compositions – some of which flirt, ingeniously, with abstraction – are awash with attractive blotches and drips."

— The Telegraph

"The whole show expresses a deep frustration with the stupidity and unfairness of a selfish, elitist society that continues to reward the few at the expense of the many. This isn't about deep trauma or identity politics-based injustice, it's about the daily grind that almost all of us drag ourselves through."

— The Guardian

"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."

— The Standard

"Walking into Tate Modern's huge Tracey Emin retrospective is like walking in on her crying, naked, sobbing and snotty, as if you have stumbled into something painfully private. Don't come here looking for a good time – you won't find it. But come looking for pure, unapologetic, undiluted, full-frontal love, grief, heartache and sadness, and you will end up feeling more feelings than you've probably felt for years."

— The Guardian

"For the past 50 years, Hockney has flitted between these two modes, returning occasionally from noodling to remind us of his gift for direct communication (see his portrait of the performer Divine, the affecting drawings of his ageing mother, or his paintings of the Yorkshire landscape in the 2000s). But, sad to report, it is to the late stages of the jazz tendency that most of this exhibition belongs."

— The Guardian

"But the more things are wrapped up and obscured, the more the work holds you at arm's length. Dangling sacks filled with plastic or objects wrapped in twine just look like bits of rubbish. You can only really untangle their meaning with a list of materials in your hand – oh it's not just some trash, there's a mango pod inside, got it."

— The Guardian

"For Dulwich Picture Gallery to give this first British showing to Estonia's finest is an admirable gesture, though one suspects they find him more interesting than likable. Still, this show rewards exactly that kind of open curiosity."

— The Standard