Adam Tait

Shoot! traces the history of the shooting gallery as attraction, and its souvenir photographs, through a philosophical lens. Playing on the relationship between shooting a photograph and shooting a gun, these fascinating images encapsulate the violence of both shattered lenses and targets. At The Photographers' Gallery.

Aspen Magazine: 1965-1971 at Whitechapel Gallery provides a wealth of information on the multimedia magazine, whose contributors and designers included Andy Warhol, Yoko Ono, John Cage, Roland Barthes and Susan Sontag. It can be difficult to wade through the displays if you are unfamiliar with the magazine, but they capture the magazine's innovative approach to publishing.

Simon Bainbridge displays his aesthetically and conceptually interesting works of reclaimed steel and three-dimensional collage; and Simon Martin's collection of works by other artists examine our attitudes towards our built surroundings. Both artists present compelling ideas – but it's a shame there are not more works on display to flesh out the exhibition.

Tino Sehgal's art is known for its dynamism and interactive nature. These Associations, his latest piece filling the Tate's Turbine Hall, is a fascinatingly engaging work that drags the spectator into it. You could quite easily sit watching these movements and interactions for hours on end. A truly fantastic experience that everyone should have at least once. 

The works of Mondrian and Nicholson, heads of the De Stijl movement, are presented in parallel. The focus of an exhibition is, obviously, the works of art. But often, the artist is left to hang like a spectre in the background. In Parallel is an opportunity to see these artists humanised in the light of a friendship that was important to both men and their work.

Shrigley’s work adopts a surrealist style in its examination of mental goings on. Brain Activity almost feels like being shown around an eccentric friend’s home: it is littered with oddities so strange that further explanation would actually seem out of place. But Shrigley's innate wit and direct remarks make for an especially pleasant and accessible experience.

David Hepher’s Lace, Concrete and Glass commemorates the 1960s housing project, Aylesbury Estate. While the stories of individuals seem just out of reach, what is emphasised in these works is the estate’s presence in the city. But can a building with so much history as the Aylesbury ever escape its social aspects? 

Whitechapel Gallery's exhibition of Zarina Bhimji's photography shows the artist's concern with the marks left by human activity, their routes, and the links between places and people. As an examination of channels between cultures, it is fascinating. But the lack of human subjects lends these images an incredible stillness.

An exhibition titled ‘Mental Spaces’ perhaps elicits connotations and expectations of somewhat serious, inward pointing contemplations. But ascending the stairs to the collection of Condo’s work you find something altogether more jocular. The Hayward’s exhibition spans Condo’s career from its inception in the 1980s right up until the present day, although not in any chronological structure.

Last week White Cube added a third string to its bow with the opening of White Cube Bermondsey and its inaugural exhibition, Structure & Absence, bringing together work by Andreas Gursky, Damien Hirst, Wade Guyton, Gary Hume and many others.