Despite Gehry's dislike of the term, his building is a spectacle, as is the art
Music, dancing robots, 19th-century algorithms: Shawcross's latest project was ambitious, but was it worth it?
Pierre Huyghe's stange and beautiful work; Jane and Louise Wilson's 'Undead Sun'; and Schiele's uneasy nudes
Nothing stirs the anxieties of Western civilisation like the unnaturally powerful female...
Huyghe's notoriously uncategorisable works are both strange and beautiful
An 18th-century architect's house is a strange place for a law firm to show off some modern prints...but it works
Undead Sun explores the First World War’s nascent mechanics of propaganda, aerial warfare and camouflage
In Schiele’s vision, to observe, or to have a body is to have a difficulty
The museum showcases some of its finest works in 'The Art of Our Time'
Monteleone focuses on an apparently shiny, happy new reality...Yet the Italian photographer is playing a sophisticated game
From Brueghel and Rembrandt to Rego and Steve McQueen
Playful and daring, Rego's pastels and watercolours are a surprise
We're fond of the Brueghels because they are rooted in their own time; so it's odd that this 'conversation' works
Self-scrutiny, experimentation, intimacy and contemplation characterise the master’s final years
McQueen's elegiac new work asks how we can memorialise a life
The modernist designs at the V&A have an air of optimism about them, but we all know how the story ends
Matisse goes to New York, the British Library goes Gothic, and Sotheby's goes to Chatsworth
It is not just collectors who enjoy the encounter with sculpture in the landscape. The public seems just as keen
One source of respite from the surrounding art fair frenzy is the Frieze Sculpture Park
Nevinson is best known for his war art, but took his work in surprising directions after 1918
A new exhibition illuminates the stories behind some of London’s most radical public sculptures
'Terror and Wonder: The Gothic Imagination', from Bram Stoker and to Wallace and Gromit
Matisse's cut-outs have arrived in New York; and it's a piece from MoMA's own collection that steals the show
