Edward Burra's Harlem, 1934, is showing as part of Afro Modern at Tate Liverpool. This major exhibition, inspired by Paul Gilroy's seminal book The Black Atlantic: Modernity and Double Consciousness (1993), identifies a hybrid culture that spans the Atlantic, connecting Africa, North and South America, the Caribbean and Europe. Showing to 25 April.
Photograph: Tate
This spotlit mirrored plinth of chainsaws forms part of the three-channel video installation Sanity Assassin (2009), by Amanda Beech, currently installed at Spike Island, Bristol, to 11 April.
Photograph: Stuart Bunce/Courtesy of Spike Island/Stuart Bunce
Basil Beattie's No Known Way (Janus series) 2007, at Abbot Hall Gallery, Kendal. Beattie has been described as ‘one of the most significant of bridges in the generations of contemporary abstract painters’. His career spans the emergence of abstract expressionism in the late 1950s to a more recent emphasis on the ambiguities of signification, which have dominated visual art practice since the 1980s. Showing to 6 March.
Photograph: Peter Abrahams
Chris Ofili's No Woman, No Cry (1998) was created in the aftermath of the Stephen Lawrence inquiry and is showing alongside recent works as part of his show at Tate Britain, London. This major survey of the artist’s career brings together more than 45 paintings, as well as pencil drawings and watercolours from the mid 1990s to today. Showing to 16 May.
Photograph: Chris Ofili
Artist Michael Landy in a bin, promoting his new show at the South London Gallery, London. Over the course of the exhibition his enormous 600m³ bin will gradually fill up as people discard their artworks, ultimately creating, in Landy’s words, 'a monument to creative failure'. Showing to 14 March.
Photograph: Michael Landy
Sonia Boyce, a pioneer in the Black British cultural renaissance of the 1980s, returns to the Bluecoat 25 years after first exhibiting there. Her collaboration with The Blue Room at Crosby Beach, showing at Bluecoat Gallery, in Liverpool, explores universal ideas around the concept of care. Showing to 28 March.
Photograph: Sonia Boyce
Still from Tim Etchells's Art Flavours (2008), showing as part of the artist's new show at Gasworks, London. Tim Etchells's first solo exhibition in a London public gallery brings together two works previously unseen in the UK. Art Flavours reflects Etchells's interest in the encounter between different discourses and cultural frames, exploring the potential for communication and miscommunication between them. Produced for Manifesta 7, in Italy, Art Flavours sees Etchells organising a meeting between the Italian critic and curator Roberto Pinto and the ice-cream maker Osvaldo Castellari. Showing from 5 February to 28 March.
Photograph: Tim Etchells
Toby Paterson's Powder Blue Orthogonal Pavilion (2008). Paterson's latest show takes place at Fruitmarket Gallery, Edinburgh. He has a keen interest in post-war modernist architecture, which he deconstructs both materially and politically, developing a practice in which some works are almost understandable as architecture, while others are expressions of purely abstract form. Showing to 28 March.
Photograph: Toby Paterson
