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Christopher Houghton Budd – interview: ‘What’s needed here is a high street all the way from the town hall to the lighthouse, without interruption, for pedestrians’

Doron Langberg – interview: ‘There's this rush of empathy and emotion’

Yoan Capote – interview: ‘When a Cuban looks at the sea, he remembers the isolation and pain of thousands of families’

Gustave Moreau: The Fables

Brett Rogers – interview: ‘When I was a student, the Photographers’ Gallery was one of my favourite places to visit’

Joan Eardley: Centenary

Eduardo Chillida

Disciples of Dóra Maurer

Hilda Kortei: Waitless Beyond Blue

Untitled: Art On the Conditions of Our Time

Folkestone Triennial 2021: The Plot

James Barnor: Accra/London – A Retrospective

The Renaissance Cities: Art in Florence, Rome and Venice by Norbert Wolf – book review

Jakob Kudsk Steensen – interview: ‘There’s so much that we forget in the virtual’

Tess Jaray: Thinking on Paper by Tess Jaray – book review

Mark Leckey – interview: ‘There’s this strange new limitless and elastic space that we are now inhabiting on a daily basis’

Tokyo: Art and Photography

Pavilion Tokyo 2021

Tesfaye Urgessa – interview: ‘Young people don’t need to have a geographical boundary. They belong where the dream is’

Jennifer Wen Ma: ‘With the pandemic and the turbulent political situation, the work had to be more reflective, it had to bind up wounds’

Thomas Joshua Cooper: The World’s Edge

Lynn Hershman Leeson – Twisted; Ed Atkins – Get Life/Love’s Work

The Normal

Kenji Hirasawa – interview: ‘I approach the sitter like a guardian angel, watching over them from far away’

Her Dark Materials

Angela Heisch – interview: ‘I think of these works as theatrical – they’re emotive and dramatic as well as gestural’

Nneka Uzoigwe – interview: ‘I find plein air painting extraordinary because there’s so much information to capture and there are so many elements’

Matthew Wong: Footsteps in the Wind, Ink Drawings 2013-2017

genuinefake – interview: ‘I use my creative practice to try to start conversations and dialogue about access, our aspirations … and agency’

Nicholas Pope: ‘We artists can speak and everyone can understand in their own way what we’re speaking about’

Mick Peter – interview: ‘The project was pleasingly indulgent, a free pass to propose almost anything’

The Armory Show 2021

Cathie Pilkington – interview: ‘It’s great to have a title that makes people think’

National Gallery Outdoor Exhibition

Becoming Gustav Metzger: Uncovering the Early Years, 1945-1959

Hormazd Narielwalla – interview: ‘True, he’s physically not here, but Bowie, the god, is still with us’

Pope.L: Notations, Holes and Humour

Visions of Heaven: Dante and the Art of Divine Light by Martin Kemp – book review

Sophie Taeuber-Arp

The impact of the Covid-19 pandemic on artists: ‘It was necessary for artists to feel that they are still in a network’

With Pleasure: Pattern and Decoration in American Art 1972–1985

Graham Little – interview: ‘Smallness feels natural to me’

Rebecca Salter – interview: ‘I believe that art thrives in a crisis and this can be a cause for hope’

Peter St John – interview: ‘You can see how this building has developed. And that’s really special’

Tino Sehgal

The Lost Leonardo – film review

Leiko Ikemura – interview: ‘I think we have this inner life, and this inner life has a kind of physiognomy’

Hans Op de Beeck – interview: ‘It’s about suspension of disbelief and how far you can take a spectator into something undeniably fake’

Matthew Krishanu – interview: ‘I want my paintings to exist somewhere between the precision of a photograph and something looser’

Karla Black – interview: ‘I don’t see culture and nature as separate things. There’s just a huge pretend around them’

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