The exhibition starts on the Barbican’s lift doors, which are emblazoned with photographs from the show. They include one of my all-time favourites: Herb Ritts’s Fred with Tyres 1984 (pictured below right), a fashion shoot of a young body builder posing as a garage mechanic, in greasy overalls. Despite his powerful muscles, he looks tired and petulant.

The screen is filled with the head and shoulders of a man lying on his back; he could be dead in the morgue or lying on the analyst’s couch. He doesn’t move (it’s a still), but we hear his voice recounting the terrible story of the day he accidentally killed his brother. 

“From today, painting is dead.” These melodramatic words were uttered by French painter, Paul Delaroche on seeing a photograph for the first time. That was in 1840 and, since then, painting has been declared dead many times over, yet it refuses to give up the ghost.

Even now, when so many artists are choosing photography, film or video over paint on canvas, artists like Glenn Brown, Marlene Duma, Peter Doig and Jenny Saville continue to expand the possibilities of the archaic medium and prove there’s plenty of life in it.

It looks as if vandals have ransacked Whistler's Peacock Room. The famous interior was commissioned in the 1870s by shipping magnate, Frederick Richard Leyland to show off his collection of fine porcelain. The specially designed shelves have been broken and their contents smashed; shards of pottery lie strewn across the floor.

“I forgive you,” he said. “I forgive you… for the bombs.” Spoken by a young Muslim in measured tones that can’t hide his fear, these chilling words recall a random encounter with a stranger. 

Even more than most, Picasso exhibitions need a focus: he was so prolific and diverse that the alternative is neither practical nor comprehensible.

Picasso and Paper, Royal Academy ★★★ A fascinating subject that proves too unwieldy for a single exhibition. Until 13 Apr

Notable anniversaries provided the ballast for this year’s raft of exhibitions; none was dead weight, though, with shows dedicated to Rembrandt, Leonardo and

It doesn’t matter where you stand, whether you crouch, or teeter on tiptoe: looking into the eyes of Bernini’s Medusa, 1638-40, is impossible. The attempt is peculiarly exhilarating, a game of dare made simultaneously tantalising and absurd by the sculpture’s evident stoniness.

In one of Dora Maar’s best known images, a fashion photograph from 1935 (pictured below), a woman wearing a backless, sparkly evening gown appears to be making her way backstage through a proscenium’s drapes. The star of the show exits the limelight, cheekily concealing her face behind a six-pointed star snatched, maybe, from the star-spangled scenery.