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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

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.

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.

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.

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.

Tate Britain’s The 90s: Art and Fashion brings together more than 100 works by nearly 70 artists, photographers and designers to examine how art, fashion, photography and club culture collided in 1990s Britain. Guest curated by Edward Enninful OBE, the exhibition explores identity, class, race and the AIDS crisis while challenging traditional divisions between fashion and fine art.