Heir to one of this country's great textile manufacturing firms, Samuel Courtauld (1876-1947) – highly original in his then unfashionable fascination with the art of his own lifetime  – bought some of the best known and best loved paintings now in the public domain.

It’s the nature of satire to reflect what it mocks, so as you’d expect from a British Museum exhibition curated by Ian Hislop, I object is a curiously establishment take on material anti-establishmentarianism from BC something-or-other right up to the present day.

Architecture is notoriously difficult to present in an accessible way and this survey of Italian architect Renzo Piano, who gave London the Shard, does not solve the problem. With 16 tables arranged in rows over two rooms, the Royal Academy show looks more like a busy office or a reading room than an exhibition. 

On a recent visit to the Royal Academy, I noticed a tall, elegantly dressed man who spent quite some time admiring a square object attached to the wall. I wondered whether to tell him that far from being Russian avant-garde art, which was the theme of the exhibition, it was in fact the temperature and humidity control box.

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.

When in 2004 Frida Kahlo’s bedroom – sealed on the command of her husband Diego Rivera for 50 years from her death – was opened, a trove of clothes and personal items was discovered.

The daily car ferry from Newhaven in Sussex to Dieppe in Normandy is an unlikely phenomenon. Neither port is very large; neither region very populous, and the journey sways you along for four contemplative hours. It enjoys the custom of truckers, school parties, and retired caravan-owners. But it also caters for art lovers with time on their hands.

It’s not as immersive as New York’s The Gates, 2005, nor as magnificent as Floating Piers, 2016, in Italy’s Lake Iseo – it has also, according to Hyde Park regular Kay, “scared away the ducks,” – but superstar artist Christo’s The London Mastaba looks quite absurdly unreal and is totally free for the public.

In just five years, what the team behind Hidden Door Festival has achieved is quite remarkable. Having sprung up in 2014, taking over a group of disused vaults behind Waverley train station, the festival’s mission to transform redundant spaces in Edinburgh has left an immovable, and much needed, creative footprint on the city.

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.