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Enclosure, a newly commissioned film and installation by Somerset House Studios artist Jenkin van Zyl, opened this week in the Lancaster Rooms at Somerset House. The project is van Zyl’s first major London exhibition and imagines a world in which technological systems have continued developing long after the ideas that once justified them have begun to fall apart. Somerset House

June’s London Gallery Weekend has, in recent years, quietly stopped being a single weekend. Several of the galleries that opened exhibitions to coincide with the event’s private views on 4–7 June kept those same shows running deep into September — Sadie Coles HQ’s presentations by John Currin, Helen Marten and Kiik Amor among them, with both the Currin exhibition at 17 Savile Row and Marten’s presentation at The Shop on Kingly Street scheduled to run until 12 September.

Somerset House opens the world premiere of Fleurs de Villes DIANA this week, an exhibition in which fifteen of London’s leading floral designers reinterpret defining looks worn by Diana, Princess of Wales, entirely in fresh flowers. Staged in support of The Diana Award, the twenty-one-day exhibition sits at an unusual intersection of fashion history, floristry and charitable fundraising — territory that art criticism does not often venture into.

Art in Perpetuity Trust opens its Deptford studios to the public this weekend, offering free, direct access to working artists ahead of London’s fair-driven autumn calendar. The event stands as a functioning counterpoint to Frieze week’s VIP-priced access model.

The Royal Society of Marine Artists opens its Annual Exhibition at Mall Galleries this week, presenting several hundred works united by a single subject: the sea. Now in its ninth decade, the show offers a functioning market and critical apparatus for figurative marine art outside the contemporary gallery mainstream.

Frieze London and Frieze Masters return to The Regent’s Park this October with fifty curated presentations and four solo artist stands. The free Frieze Sculpture programme opens weeks earlier, offering the fair’s most accessible point of entry.

The National Gallery’s first exhibition devoted to Ferdinand Georg Waldmüller closes this weekend after an eleven-week run of thirteen works on loan from Vienna’s Belvedere. The show traces the Austrian painter’s exacting, unidealised eye across four decades of landscape work.

Arts Council England has replaced its ten-year “Let’s Create” strategy with a pared-back framework of three principles, following an independent review led by Margaret Hodge. The change arrives alongside a new chair, Dawn Airey, and continued oversight of roughly £467 million in annual funding.

Tracey Emin: A Second Life at Tate Modern brought together four decades of work shaped by autobiography, the body, trauma and survival. From My Bed to recent paintings and bronzes, the retrospective revealed how Emin’s confessional practice has evolved into a meditation on mortality, memory and renewal.

White Cube Bermondsey presents Gabriel Orozco: Chronotopic, bringing together more than 100 works across sculpture, painting, photography and works on paper in a major survey spanning three decades.

A new Audience Agency report argues that Britain’s cultural sector needs a coordinated approach to artificial intelligence, with museums, galleries and heritage organisations sharing knowledge rather than experimenting in isolation. Based on practical case studies from 16 institutions, Let’s Get Real: AI recommends people-centred processes, flexible guardrails, small-scale experimentation, stronger data practices and sector-wide collaboration.

Ina Sarikhani Weston’s appointment as Chair of the National Portrait Gallery highlights the growing importance of philanthropy, private collecting and trustee networks in the governance of Britain’s national museums. Her tenure is expected to emphasise continuity, collaboration and institutional stability as the Gallery navigates a challenging arts-funding environment.