Installation

"Inside, you are plunged into near-total darkness, feeling your way along softly curving corridors lined with compact, hair-like roots. And unlike the dank, musty odour one might expect from a mound of soil, Morelos' beast smells unexpectedly good: infused with clove and cinnamon and softened by the cool scent of earth after rain."

"The focus on religion is heavy-handed at times – perhaps loving the Spice Girls or Elvis is just not that deep? – and it feels remiss for the exhibition not to question what happens when these obsessions go too far, if they are always healthy, or if idolising celebrities should be seen as a blanket positive thing. Still, Holy Pop! is a joyous celebration of pop culture fandoms, and all their quirky, messy extremes."

"This is an exhibition all about exclusion, about trying to fit in but never quite managing. It's razor-sharp, funny, pop-cultural, obtuse conceptual art about growing up black in Britain, about trying to make it and knowing you're bound to fail, because the system is geared towards failure."

"This love has a toxic edge. It's as damaging as it is nurturing, as painful as it is essential. Not because their love is unique, but because Mendick has realised that's just what love is."

"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."

"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."

"This massive, ambitious exhibition is the Chinese artist at his most monumental, and as a result at his most effective. His subject matter works best at enormous scale, blown up, expanded, shoved in your face."

"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."

"This is such an unsettling, threatening exhibition, helped no end by the weird ambient soundtrack, which makes you feel like you're about to be pounced on by some mythical beast in a deep dark forest. There's a sense here of ancient rites seen through the lens of 1960s hippy love, and churned through the mill of millennial malaise. It's as if the Wicker Man wasn't set on an island off the coast of north-west Scotland, but in early 2000s semi-rural Kent."

"In an era when art often seems content with small, dry efforts, Kapoor soaks the Hayward in the blood and guts of his unfettered imagination."

"It's outer space, distant stars, planet Earth, the birds and bees and trees all right here, in this exact moment. It's a portrait of you in the universe, a picture of its vastness and your own little place in it."

"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."