Mitchell and Emily Rales’s $125m extension of Glenstone – due to open on 4 October – makes it one of the world’s largest private museums, with six buildings, 230 landscaped acres and a formidable collection. The only problem will be getting in.

Kengo Kuma has delivered a new landmark in the V&A Dundee. It is a craggy sculptural structure inspired by the city’s shipbuilding past and Scotland’s rugged cliffs, which Kuma hopes will reconnect the city with nature. Inside, he has crafted an interior of warmth and welcome. But has he delivered a ‘living room for the city?’.

Istanbul-based artist Banu Cennetoğlu talks about the List, a documentation of refugees known to have died trying to reach Europe, now on show at the Liverpool Biennial, her recent film at the Chisenhale that spanned more than 128 hours, and the images we create of ourselves and other people.

This tightly focused group exhibition explores the human impact on our environment.

You may view plastic as rubbish, but for Mumbai artist Aaditi Joshi it is ‘as precious as a gem’. She even covers her body in it to make art. Here, she talks about why she chose it as her medium and describes her process of transforming it.

With walls made of stacked concrete roof tiles and a welcoming sequence of interior spaces, Mexico’s Frida Escobedo has created an easily replicable, accessible and enchanting structure for the 18th Serpentine Pavilion commission.

The artist and illustrator talks about her current exhibition, Language Shift, the Endangered Poetry Project, her etymological alphabet, and why each language is so important to its culture.

This exhibition of Kelly’s work seeks to cut to the core of his practice, primarily through two sets of extraordinary lithographs from the mid-1960s, and traces a compelling link between his figurative and abstract work.

Goody, herself of Dalit heritage, talks about discrimination in India against the Dalits and how, in her first solo exhibition, she is using photographs of her family and turning Dalit literature into recipes, to highlight the significant and complex relationship with food among a people historically denied it.

The artist discusses the transmigration of the soul, the transformative properties of clay, and using art as a way of mourning.