It's time to rediscover France's answer to Correggio
Thrilling and thoughtful work by an Angolan collective puts shows by Marc Quinn and Joseph Cornell in the shade
Announcing the Prix Pictet shortlist; Adam Buck at the Ashmolean museum; Impressionism comes to Philadelphia
The prize has come up for criticism this year, as it always does. But there's still merit in it
This is the best version yet of an impressive exhibition
The many faces of Audrey Hepburn; Agnes Martin's journey into white; Duane Hanson's extraordinarily lifelike sculptures; and wonderful watercolours from the Fitzwilliam Museum
This show proves that the medium is far more versatile than people think
The National Portrait Gallery celebrates the woman who Cecil Beaton called 'a new icon of femininity'
Martin's progress towards white paintings reflects Rothko's meditative march towards black
From Old Master portraits to 20th-century abstraction: there's plenty on offer in the capital this week
Hanson's lifelike works are perfectly suited to a public gallery space in London's main park
Alexander McQueen's exquisite tailoring; the Serpentine's slightly shabby pavilion; Andy Warhol's money-worship; and Kallos gallery's exceptional ancient art
Exhibition reviews and previews: Bill Viola at Auckland Castle; Pablo Bronstein at Nottingham Contemporary; Joseph Cornell at the Royal Academy
Having Bill Viola open proceedings this summer is a real coup
The fashion for copies at the Prada Foundation; Ravilious at the Dulwich Picture Gallery; and interview with Shirin Neshat, and more
Authenticity is out of fashion
Tate's 'Fighting History' is a failure: if you want proper history, see Ian Hamilton Finlay's Revolutionary work at Victoria Miro
The artist's reputation is growing
How did artists respond to Waterloo? Does Finland have too many artists? How does performance fit into a museum collection?
Frida Kahlo in the garden; highlights from Art Basel; sculpture in Oslo; and Dan Holdsworth's dizzying photographs
The scientific made spiritual
Changing Norwegian attitudes to privately-funded art
Corin Sworn has filled the space with costumes and props inspired by the Italian Commedia dell'Arte
Everything in Struth’s shots seems to have taken on a level of aggression
