One of the great things about Artangel is the interesting sites which they seek out for the artworks they commission. The latest find is the disused waiting room at Peckham Rye station, a once gracious space with a vaulted ceiling, arched windows and two fireplaces, now ripped out. The space was later converted into a billiard hall, the sign for which is still visible on the staircase wall, but when that closed down in 1962, the room was left to rot.

Isaac Julien was a student at St Martin’s School of Art when the Brixton riots broke out. Black youths took to the streets, frustrated by high rates of unemployment, police harassment, far-right intimidation and media hostility, and all hell was let loose.

In this juxtaposition of Piet Mondrian, a world famous modernist, and Hilma af Klint, a little known Swedish painter, guess who knocks your socks off ! This fascinating show is a delight and a revelation, because it declares the spiritualist underpinnings of modernism which many, until now, have sought to hide.

The fire which engulfed Grenfell Tower in London’s North Kensington on 14 June, 2017, with a death toll of 72, is still under investigation. The dead were largely recent immigrants to the UK. The tragedy, it’s clear now, was caused by an unholy mixture of neglect, racism, greed and corruption. There’s been much shameful denial and buck-passing, and the issues around the building’s shockingly inadequate cladding haven’t led to much action elsewhere.

In the centre of a Venn diagram linking climate change to the mystic landscape of Dartmoor and the West Country, sits this tightly conceived show about "green" witchcraft in contemporary art. Witches were once very common in this part of the world; the last witch to be executed in Britain was from Exeter. The local museum has invited a selection of artists to contemplate this local history and the result has brought the dark arts into the light of a 21st-century space for art.

Chinese artist, Ai Weiwei has created an extremely beautiful installation at the Design Museum in which the disparate elements play their part in creating a powerful overall message. On one level the exhibition is about design, but it also invites you to consider far more serious issues than are normally addressed in this temple to consumerism.

When Berthe Morisot organised the first Impressionist exhibition in 1874, along with Monet, Degas, Renoir and co, she’d already exhibited at the Paris Salon for a decade – since she was 23. That’s not bad for someone refused entry to art school because she was a woman!

What a feast! Congratulations are due to the National Gallery for its latest blockbuster After Impressionism: Inventing Modern Art. Such a superb collection of modern masters is unlikely to be assembled again under one roof, so this is a once-in-a-lifetime, must-see exhibition.

A small cottage vanishes into a surrounding bay, its walls apparitional against pale waters. In the background, a pier juts out into the ocean, equidistant to sea-green hills and a brown strip of land. The tide gently meets the shoreline, white on blue-grey wash. All is quiet, all is still, as nature slowly erodes every last trace of man.

Despite the fact that it’s a cruel depiction of an aging woman, I have always loved Quinten Massys’ The Ugly Duchess (pictured below, left). The Flemish artist invites us to laugh at an old dear who, in the hope of attracting a suitor, has tucked her hair into a horned headdress and decked herself in a décolleté gown that exposes her wrinkled cleavage.