John Patrick Egan

Are you familiar with the concept of a "3-in-1" – the best bits from a takeaway menu, all thrown into one box and devoured at 4 a.m. after a nightclub? Well, in some ways, White Cube Bermondsey's exhibition of Gary Hume, Eddie Peake and Chuck Close is the art equivalent – strong, interesting work from solid artists that will have something for everyone's appetite.

An unusual pairing at Stuart Shave/Modern Art of Lothar Gempel and Aubrey Beardsley may not have been ideal in terms of a lasting conceptual artistic alliance, but no matter – the quality of the work from both artists on display more than compensates.

Controversial psychiatrists, misericords, an almost OCD approach to drawing something that doesn't actually exist, and an oft-bearded female puppeteer gets biblical: this year's Turner Prize nominees deliver a variegated collection of impressively well-informed work which should contain something to satisfy everyone. At Tate Britain.

Bjarne Melgaard's A House to Die In at the ICA, showcasing his collaborative approach to the creation of a very singular breed of habitation is, surprisingly, a lot more playful than the title initially suggests. This is a slightly chaotic, beguilingly vulgar and, most importantly, genuinely interesting collection that must be experienced in the flesh.

With this show, Gander presents us with a body of cerebral, subtly comic, and beautifully fabricated work. More important, though, is the fact that we are viewing work from a narrative craftsman at the top of his game. At Lisson Gallery.

Altmejd constructs lavish tableaux, often contained within perspex vitrines to elevate or fetishise its constituent parts. Coconut halves, perspex, and solidified resin are recurring objects in these works, which emphasize the contradictions between natural and synthetic in his work. These are undoubtedly fascinating pieces, but are they breaking any new ground?