Bonnard, Vuillard, Denis and Roussel are assessed as distinct individuals, brought together by the shared conviction that “There are no paintings, just decoration”

A clever eye and sly humour at Throckmorton, Nash at Schickler, Bidgood at Paul Morris, Cook at Mitchell-Innes & Nash

Also on show are Mark di Suvero’s massive sculptures at Gagosian, and Charles Simond’s unfired clay at the Joseph Helman Gallery

Martin shares his love for modern and contemporary American art in new Las Vagas show, giving a personal touch via audio guide

Painting pushed into new places at Victoria Miro and The Approach and seismic shifts at asprey jacques as the Chapmans explore their feminine side at Modern Art

Art on the agenda at St Etienne, Powers’ Pop pics at Gagosian and all-American art at Adelson

“Battle lines: Canadian artists in the field, 1917-19” is on show now at Canada House

The Vasari of his field, Vever was himself a jeweller—though like Vasari he is better known for his writing

Charles Saatchi and Eli Broad both collect him, but only 13 US museums have examples of this artistic rebel’s work

The Tate and the Walker Art Center collaborate to show Arte Povera 1962 to 1972, from five years before the movement was defined by its impresario, Germano Celant

The expansive exhibition is on now at Palazzo Zabarella

The Museum of Contemporary History provides historical explanations for why war photographers took the pictures that they did

The director’s new scheme of quarterly changes will show more than just the work of local artists

Unsettling excesses at Stephen Friedman and various ponderings on places and no-places at Milch, Corvi Mora, Timothy Taylor and Emily Tsingou

Epic list-making at Gagosian and a sombre investigation of society at the Lisson

A weak exhibition that attempts to survey the Victorian legacy is partially redeemed by the accompanying book

Director James M. Bradburne is a passionate believer in new technologies

For his exhibition at the Serpentine, the conceptual artist has made an installation of art from the Victoria and Albert Museum and left its message open

Wounded archaeology

A vast, nine section exhibition: What the critics said

Tate lends Bacon works on paper for comparison with disputed works but comparative photos of Tate works are not allowed

Unfortunately this excellent showcase of the master of landscape has been overlooked due to its lack of catalogue

(Tate Publications, London, 2000), 216 pp, 74 b/w ills, 116 col. ills, £19.99 (pb) ISBN 1854372483

Cities provide the context for many of the 20th century’s most important innovations, but are also environments in which literature, music, art and thought merge, split or collide with one another. Tate Modern’s first major exhibition since opening ambitiously comprises nine sections, 13 curators and 1,500 works spread over two floors. The display combines the scale and global scope of an international biennial with the historical perspective of art’s most varied century

A second exhibition of Barry Joule’s collection, left to him by Francis Bacon his former neighbour, is still a matter of dispute with the Bacon Estate

Women’s studies blended with the media biography and botanical illustration

“The Art of Star Wars”, National Museum of Photography, Film and Television, Bradford, until 29 April 2001

Artistic exchange to take place next year

Louisa Buck’s choice of London contemporary galleries