Sculpture

"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."

"Elsewhere, slender ceramic figures are gathered like pawns on a chessboard, though here they are more crowded, more claustrophobic, not helped by the cages covering their heads. What are we to make of these structures? Devices for trapping fruit-eating pests, or part of a wider system of confinement, of lives hemmed into structures larger than themselves."

"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."

"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."

"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."

"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."

"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."