Reviews
Collective effort – the social sculptures of Simone Leigh
The sculptor is deeply connected to a wider network of artists and thinkers who also get their dues in this large-scale survey
Old Masters are back in the running at the Walker Art Gallery
After a multimillion-pound refurbishment, Liverpool’s greatest gallery is rethinking what a Victorian collection of Renaissance art means today
The outsize influence of the little black dress
The frock you can wear to everything has never gone out of style – but that hasn’t stopped designers trying to pull it off its pedestal
At the National Gallery, Paula Rego holds her own against a Renaissance master
Spot Judith, Delilah, the Virgin Mary – and museum staff – in a monumental mural inspired by a 15th-century altarpiece
The fake’s progress – an introduction to the art of forgery at the Courtauld
A display of counterfeit works offers an object lesson in what a masterpiece really is – but it could have had more fun with the subject
Bringing Baya back – what the Algerian artist means in Marseille today
The self-taught painter was hailed by the Surrealists as a master of ‘art naïf’ – but this exhibition makes clear that her work was rooted in the complex politics of her day
The Victorian bookcase that contains a whole cultural world
William Burges commissioned a singular piece of furniture with contributions from everyone who was anyone among his wide artistic acquaintance
The absolutely fabulous stars of stage and screen
The question of what makes a performer truly divine is at the heart of a rigorously researched exhibition at the V&A
Two shakes of a lamba’s tale – in Madgascar, a traditional garment tells new stories
A new generation of artists in the capital Antananarivo are boldly reinventing an emblem of national identity
The colourful life of Madame Yevonde
The advent of new technology transformed the photographer’s work in the 1930s – but it couldn’t last
Blown up: Yayoi Kusama goes big in Manchester
The city’s newest and largest arts space provides ample room for the artist’s large-scale inflatables, but it’s not all about size
Lights, camera, exhibition – see Vermeer on the big screen
The Rijksmuseum’s blockbuster has been recorded for posterity, but can a film really do the paintings justice?
The Met simplifies Cecily Brown
Linking the painter’s work directly to its source material downplays what makes it really interesting
Saint Francis, pure and simple
The saint may have lived a life of poverty, but this richly varied exhibition is anything but impoverished
Gwen John bares it all at Pallant House
The artist’s remarkable paintings of women are also a form of self-exposure
For Anne Collier, the eyes definitely have it
For the conceptual artist from New York, a show in County Wexford is a chance to focus on what it means to look – and to be looked at
Rites and rituals take centre stage at the Liverpool Biennial
At the heart of a memorable but uneven event is the struggle to remember the transatlantic slave trade in appropriate ways
The guiding hand of Hugo van der Goes
The Netherlandish painter is a master of directing viewers to the telling detail
Rococo pops as a Rosalba pastel is fittingly framed
Murals by the pastellist Nicolas Party provide a temporary backdrop for a Venetian portrait
Will this year’s Serpentine Pavilion really get people talking?
Lina Ghotmeh’s structure presents Londoners with the terrifying prospect of interacting with strangers
Tinder for Tudors, and other Renaissance mating rituals
The Holburne Museum engages in a clever bit of matchmaking, with rarely shown paintings and all kinds of love tokens
How the wild things are
The British Library’s audio-visual tour of the animal kingdom doubles as a weird and wonderful history of natural history
Berthe Morisot, always in the moment
The painter went to great lengths to make her careful compositions look effortlessly spontaneous
The early modern artists who tried to study abroad
Larry Silver’s history of how northern European artists depicted other cultures could have taken a broader view
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Why are fathers so absent from art history?