This brilliantly conceived and executed show is about provenance in art. It’s also about our perceptions of the truth. However, it’s a show where it would be churlish to reveal too much of what goes on.

There are children screaming in a nearby playground. Their voices rise and fall, swell and drop. Interspersed silences fill with the sound of running, the movement and cacophony orchestrated by a boy who leads on the catch tone. It's simultaneously otherworldly and juvenile, adept and improvised – a fitting soundtrack to Anish Kapoor's latest exhibition at Lisson Gallery. 

Tate Modern’s retrospective of Dorothea Tanning is a revelation. Here the American artist is known as a latter day Surrealist, but as the show demonstrates, this is only part of the story. Tanning’s career spanned an impressive 70 years – she died in 2012 aged 101 – but as so often happens, she was eclipsed by her famous husband, German Surrealist Max Ernst. 

“Slow looking” is the phrase du jour at Tate Modern, an enjoinder flatly contradicted by the extent of this exhibition, which in the history of the gallery’s supersized shows counts as a blow-out.

Reckless, unstoppable, one step ahead of everyone else, a hell of a lot of fun, utterly charming, street smart – descriptions of the artist Sidney Nolan (1917-1992) poured out from colleagues, rivals, curators, art historians and dealers, not to mention friends and family, in this persuasive film.

In the autumn of 1892 Émile Bernard wrote home to his mother that, following the summer decampment to Pont-Aven of artists visiting from Paris and further afield, there remained "some artists here, two of them talented and copying each other.

The well-known portrait of New Zealand’s greatest writer, Katherine Mansfield, is exactly 100 years old on 17 June 2018 (main picture). It was painted by the American artist Anne Estelle Rice.

Not far into Aftermath, Tate Britain’s new exhibition looking at how the experience of World War One shaped artists working in its wake, hangs a group of photographs by Pierre Anthony-Thouret depicting the damage inflicted on Reims.

This weekend the Royal Academy (R.A) celebrates its 250th anniversary with the opening of 6 Burlington Gardens (main picture), duly refurbished for the occasion. When it was dirty the Palladian facade felt coldly overbearing, but cleaning it has highlighted the bands of sandstone and brown marble columns that lend warmth to the Portland stone. Originally built in the garden of Burlington House as the HQ for the University of London, this Victorian edifice turns out to be rather handsome.