Sculpture

"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."

"The best work, by contrast, finds strangeness in the familiar, and summons a forceful, idiosyncratic poetry. Paul Nash and Ivon Hitchens are the stars, although a couple of free-and-easy drawings by Peter Lanyon, inspired by gliding above Cornwall, are thrilling – and don't deserve to be stuffed in a corner."

"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."

"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."

"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."

"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."

"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."

"But the good stuff here – the shacks and Frustulas – is exceptional. It’s not just morose memorialising of brutal history: it’s a joyful celebration of ingenuity and survival in a world of inequality. As rickety as they look, these shacks tell a story that’s built to endure."

"It’s either a cry for help or a scream into the void. Whichever it is, Mike Nelson’s latest exhibition is the English artist at his most frustrated, scared, introspective and personal. This is a show filled with rot and dilapidation, insanity and dereliction."

"After centuries of colonialism and exploitation, there's just so much anger and pain here. This show isn't just about the earth and memory, this is art as a form of aesthetic resistance. It's hard not to see these ideas of stolen land and colonialism through the lens of Trump's regime with its ICE raids and travel bans."

"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."