The introductory panel to Tate Modern's exhibition of photography, film and installation contains some stark facts that remind us of the history informing the work of these 36 African artists. Some 10 million Africans were sold into slavery and by 1914, 90 per cent of this vast continent was under colonial rule (a third of it British), which one could describe as a lesser form of enslavement.

The enormous volume of Tate Modern’s Turbine Hall has overwhelmed many of those invited to exhibit there, but Ghanaian artist El Anatsui responded to the challenge with magnificent hangings that tame the huge, industrial space.

RE/SISTERS is a show about the brave women who’ve been fighting to protect our planet and the artists whose work – mainly in film and photography – is, in itself, a form of protest. The opening section, Extractive Economics demonstrates the problem – companies trashing the planet for profit, regardless of the cost to people and the environment.

A polar bear stands guard over the seal pup it has just killed (main picture). How could photographer, Hiroshi Sugimoto have got so close to a wild animal at such a dangerous moment? Even if he had a powerful telephoto lens, he’d be risking life and limb. And what a perfect shot! Every hair on the bear’s body is crystal clear; in fact, it looks as if her fur has just been washed and brushed.

It’s incredible to think that the Turner Prize has been going for nearly 40 years. It was initially set up to generate interest in contemporary art by sparking debate. Not surprisingly, the media took this as an invitation to stir up controversy by focusing on work they considered shocking and this, in turn, encouraged artists to be provocative.

At last, after waiting several years, we get to see Philip Guston’s paintings at Tate Modern. His retrospective was scheduled to open in summer 2020 at the National Gallery of Art in Washington, but the murder of George Floyd made the institution nervous. The problem? Guston’s absurdist paintings of Klu Klux Klan (KKK) members. They could be seen to condone white supremacy or, at least, to make light of it. So the show was postponed until the artist’s intentions could be made clear.

I think of Sarah Lucas as the bad girl of British art, the one who uses her wicked sense of humour to point to rampant misogyny and call out the perpetrators. Of her generation of YBAs (Young British Artists), she has produced the edgiest, funniest and most disrespectful work.

One of the most cherished memories of my 40 plus years as an art critic is of easing my way between Marina Abramović and her partner Ulay. They were standing either side of a doorway at Documenta in Kassel, Germany, leaving just enough room for people to squeeze through, trying not to touch their naked bodies.

For those unable to travel to far-flung places this summer, look no further than Turner Contemporary. Featuring the work of Brazilian artist Beatriz Milhazes, the exhibition transports you to the sandy beaches, vibrant streets and candle-lit cathedrals of Rio de Janeiro, Brazil.

The Barbican’s effort to open up the art centre to a wider audience than just City workers and wealthy local residents makes a leap forward with a new exhibition in the Curve. The free gallery space that wraps around the back of the main concert hall, has become home to Differently Various, a lively show and series of workshops co-curated by a group of artists from Headway East London, a charity for people who have experienced brain injury.