Exhibitions on now in London

"It’s a savage, merciless vision of modern history with feelings of horror, disgust and irreparable guilt hanging heavy in the poisoned air. But there’s a terrible joy too, the thrill of speaking the truth."

"He can do everything. And yet, whatever he does, you know it's him."

"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."

"Atoui has grabbed the opportunity to work in this vast space with both hands, creating something rich, ingenious, funny, sad, mystical. This is a Turbine Hall installation to lose yourself in for hours, dreaming and wondering."

"It is, in fact, a terrifically exciting narrative. It shows the pity as well as the brutality of war… and all in sophisticated needlework. Go, if you can."

"The painting is overwhelming, not only for its scale but also for its dazzling variety of tones and textures, from the schematic design of the planets to its impasto treatment of the moss on the stones, which blooms from the surface of the canvas in wild green clumps. The effect is sublime."

"With its evocation of woman as nature, the work reinforces the woman-nature/man-culture dichotomy"

"Famously he was a painter of fairies, yet he was far from being away with the fairies"

"All that is certain is that Pope.L cannot be pinned down. Best known for his gruelling “crawl” across New York, this influential artist and writer didn’t use art to make himself understood. Instead, he used its tools to dismantle the liberal presumption that other people and communities can easily be understood, categorised and explained away."

"Zoom out and the wreckage becomes a series of huge three-dimensional abstract paintings, drawn in steel across the gallery. The Weight of Matter is a reminder of the possibilities and joy that can come with a second life."

"He could paint like Jan van Eyck when he wanted but sometimes preferred to paint like a clumsy moron. Magritte was too intelligent to respect anything, least of all art."

"Like much of Kanwar’s work, Such a Morning makes demands on your patience. Anyone attempting to make simple sense of the film is likely to sympathise with the professor groping blindly around in the dark. But it is worth putting in the time, because Kanwar’s commitment to doubt as a precursor of knowledge carries a political charge in the present."

"But in Pierre-Auguste’s paintings, there’s no punishment. Nobody gets syphilis or drinks themselves to death, or drowns in the Seine. This is the happiest art exhibition of the year."

"The show does not psychoanalyse or overly contextualise the work. Rather, All That Goes Unnoticed presents Eggleston simply and unpretentiously. His work is banal, and extraordinary."

"They’re weird, suffocating, intimate things, like you’ve been allowed into her weakest moments, like you’re interrupting her mid-weep. You feel like you have to back out of the gallery quietly to let her get on with it."

"Enclosure is messy, utopian and dystopian all at once, and there are moments when you're not sure whether you should be trying to untangle its logic or simply surrendering to the chaos. In the end, I surrendered – and getting lost in it turned out to be half the fun."

"That so much of Ryman's art depends on such subtle effects might explain why it leaves some critics cold. Outside the gallery, it can look like an awful lot of white paint signifying very little. But with the Barbican's thoughtful curation (and an accompanying booklet mercifully free of artspeak), if there's ever been a time and place for the sceptics to see what Ryman was getting at, it's here."

"That's the trouble with art. It may set out to change the world, as Le Parc and his pals in GRAV did, but ends up as entertainment. This is a very enjoyable exhibition but its revolutionary impulse gets lost in the light."

"And then the spell is broken. The show shifts forward suddenly, brutally, into some so-so early 20th-century Korean art. Modern pastiches of traditional art mix awkwardly with European and American-style modernism from the 1900s to 1950s."

"The Riviera is left looking about as sublimely erotic and glamorous as a wet day in Margate. Tender Is the Night this is not. I don’t know whether the problem is pretension or, more depressingly, pandering to visitors the RA thinks want nice sunsets without the disturbing desires."

"Choosing to focus on new ceramic works instead of properly introducing this relatively little-known American artist with a survey or retrospective is a strange choice that doesn't service the audience. This result is a muddled, disparate, confusing mishmash of an introduction to an artist whose career deserved a simpler, easier way in."

"But the amazing people in the pictures are not done justice by their dull portraits."

"Out here in the terrain of nowhere, Aguilar returns her body to the earth – a body wanting to just be a body, to not ache to fit in. A body with the same cracks, dents and curves as the land; hardy, wild and free. They’re photographs about rejection, but also embrace."

"But it is strongest as a provocation to consider what counts as photography. Two hundred years after its invention, we're still arguing about this. Light and Magic arrives at a perfect time in this debate, even if it leaves us with more questions than answers."

"Tate's blockbuster show about this rightly beloved artist asks how and why she became an "icon". But I've never seen an exhibition about how Picasso got famous or the cultural invention of Rembrandt. We know they are great artists and how they were historically recognised is for scholars."

"This is not a real exhibition. It’s a magazine spread. Not only are there style mags in the show, its design has the breathless superficiality of a glossy layout bigging up its glib theme, in this case “The 90s”, in a glamorous sweep of strikingly juxtaposed images."