Tracey Emin's first big show in her hometown Margate must feel like a milestone for Britart's original bad girl. The story of underage sex and a fateful seaside dance competition, recounted in her brilliant Why I Never Became A Dancer, set the tone for a bittersweet relationship with the town which has been played out in various works over the years. What she offers here suggests that she has definitely moved on. The exhibition is dominated by her scratchy nudes, paired with drawings by Rodin, whose intimate studies of the female form make a stunning counterpoint to Emin's vision of her own sexuality. At Turner Contemporary until 23 September 2012 Photograph: Ben Westoby
Silence roars in Doris Salcedo's art. As with her great crack in the floor of Tate Modern's Turbine Hall five years ago, she addresses the hush that descends after violent acts. Here, you can see Plegaria Muda, an installation featuring coffin-sized tables as a response to her research into life in Los Angeles ghettos. This funereal furniture is also paired with a new installation, A Flor de Piel, a shroud made from thousands of rose petals (pictured). At White Cube, Mason's Yard, SW1, until 30 June 2012 Photograph: PR
Thomas Heatherwick is no longer the bright upstart of British design, but one of its major talents – as this survey of his tirelessly inventive career is set to affirm. With an eye for both the playful and the practical, his designs include a spinning chair that dips backwards like a funfair ride, and the award-winning British pavilion at the 2010 Shanghai Expo, which wore a shaggy coat of light-reflecting rods so it seemed one part sea anemone, one part fibre optic lamp. At V&A, SW7, 31 May until 30 September 2012 Photograph: PR
The most frequent complaint levelled at Henry Moore's sculpture is how ubiquitous it is. Up to his death in 1986, his huge public commissions erupted across the world. This show redresses the balance, with late works brought indoors and centre stage. Working in bronze meant Moore could go big, and these smooth, prehistoric-looking sculptures are the size of Fred Flintstone's house. At Gagosian Britannia Street, WC1, 31 May until 18 August 2012 Photograph: PR
Anyone who thinks multimedia, site-specific installations are something new should catch the Blackpool illuminations, which will be 100 years old this autumn. They are art as pure amazement: an almost postmodern assemblage of historical samplings from cartoon teddies to Tiffany lamps, ancient Greece to B-movie sci-fi. Here, artist Brian Griffiths celebrates the centenary by creating his own version of the annual spectacle inside the Grundy. At Grundy Art Gallery until 28 July 2012 Photograph: PR
The British-Japanese artist Simon Fujiwara's Museum of Incest is a bizarre amalgam of historical fact and dreamed-up fictions. Staged as a series of museum exhibits, complete with glass vitrine cases and carefully labelled specimens, the work appears to be an 'authoritative' history of the human race which claims that without incest there would be no humankind. The whole thing would be plain daft if it were not for Fujiwara's attention to detail and his ongoing ability to suspend disbelief through pure, persuasive cheek. At Crawford Art Gallery until 27 June 2012 Photograph: PR
A thought-provoking pairing of Zed Nelson's photography of the worldwide cosmetics industry with medical drawings by the Slade school lecturer, painter and first world war medical corps volunteer Henry Tonks. Set against Tonks's cataloguing of the facial injuries suffered by soldiers, Nelson's beauty queens and bodybuilders become all the more interestingly perverse. At DLI Museum & Durham Art Gallery until 24 June 2012 Photograph: Zed Nelson
Laura Belém's The Temple of a Thousand Bells finds its perfect home in the medieval ambience of York St Mary's. The cast glass clapper-less bells hang by nylon threads from the church's ceiling in a kind of ghostly carillon. The muted underwater atmosphere of the piece is derived from a legend about a sailor trying to listen in to an island temple that had sunk below the ocean. At York St Mary's until 4 November 2012
Photograph: Alex Wolcowicz
