Gabriel Orozco once showed us the shape of things to come. The Serpentine’s show of his dull geometry marks him down as a square, says Waldemar Januszczak

Surrealism was born 200 years before its time in the glorious detail of still-life genius Luis Melendez. By Waldemar Januszczak

Art & the 60s: This Was Tomorrow could just as easily be today. Waldemar Januszczak swings along to Tate Britain’s cool take on the Brit Art of yesterday

Tate Modern’s retrospective reveals the darkness at the heart of Luc Tuymans’s work. It also exposes his talent for evasion, says Waldemar Januszczak

It’s got the wrong name, but the Whitechapel’s new show of local artists does have street cred, says Waldemar Januszczak

Mariele Neudecker’s stunning show puts the lost romance back into German landscapes — and the lost heart into St Ives, says Waldemar Januszczak

Two huge installations — one in London, the other in Oxford — challenge the foundations of our most basic assumptions. Waldemar Januszczak revels in the mystery of it all

Jokes about a ‘bonfire of the vanities’ are crass. We have lost art that really mattered, says our art critic Waldemar Januszczak

His subjects ranged from glum to glummer — but look beyond the wistful views and Edward Hopper’s work has a glorious strength. By Waldemar Januszczak

Modigliani’s madonnas actually suggest a far stronger brew, Waldemar Januszczak now realises