The exhibitions of the German artist Anselm Kiefer have always been spectacular: large works with a numinous presence, often breath-taking and always mysterious. His new installation in Paris’s Grand Palais Ephémère, the temporary structure at the end of the Champ de Mars which stretches south from the Eiffel Tower, is perhaps the most ambitious work he has ever presented in a museum space.

American artist Kehinde Wiley may be best known for his photo-realist portrait of Barack Obama, but painting powerful black men is not the norm. More often he elevates people met on the street in Brooklyn, Dalston or Dakar to positions of pseudo authority by inserting them into pastiches of history paintings honouring the rich and powerful.

The Courtauld Gallery’s dark corners have gone, and with them a certain apt melancholy, that effortlessly summoned the ghosts of Gauguin’s Nevermore, 1897, – the abused and exploited girls of Tahiti; and Delius, who had this painting in his house at Grez-sur-Loing. In the gallery’s murky half-light, the alcohol-softened face of Toulouse-Lautrec’s In a Private Dining Room at the Rat Mort, c.1899, became still more poignant, and Van Gogh’s Peach Trees in Blossom, 1889, seemed still more luminous.

Lubaina Himid won the Turner Prize in 2017 for the retrospective she held jointly at Modern Art, Oxford and Spike Island, Bristol. My review of those shows ended with the question: “Which gallery will follow the examples of Oxford and Bristol and offer Lubaina Himid the London retrospective she so richly deserves?”

In Paris on a business trip in 1916, Wilhelm Hansen was no doubt typical of many husbands in confessing to his wife that he’d been a bit reckless in his personal spending (“You’ll forgive me once you see what I’ve bought”).

Paris Photo 2021 was a wonderful show. Back after the pandemic it was moved to the Grand Palais Éphémère, a temporary structure built to host major art exhibitions while the Grand Palais itself is modernised in preparation for the 2024 Olympics. There were 178 exhibitors at the Grand Palais from 29 countries, 19 solo shows and 8 duo shows. There were thousands of images on display.

I should have emerged from the Design Museum sizzling with furious determination to help solve the world’s rubbish crisis. Trashing the planet is, after all, the most important issue of our time and Waste Age details the enormity of the problem.

Its more than 50 years since Yoko Ono first presented Mend Piece at the Indica Gallery, London in the exhibition through which she met John Lennon. The piece is currently being revisited at the Whitechapel Gallery and, in the intervening years, its meaning has subtly shifted. Strewn over four tables are dozens of broken cups and saucers along with everything you need to attempt a botched repair – glue, sellotape, scissors and string.

Last year a stoneware jar by David Drake sold at auction for $1.3 million. It fetched this extraordinary price because of its history: Drake was a slave on a plantation in South Carolina who not only made fabulous pots, but dared sign and date them at a time when it was illegal for slaves to read and write. Needless to say, his descendants haven’t received a penny in royalties from sales of his work.

Isamu Noguchi may not be a household name, yet one strand of his work is incredibly familiar. In 1951 he visited a lamp factory in Gifu, a Japanese city famous for its paper lanterns. This prompted him to design the lampshades that, for decades, have adorned nearly every student’s bedsit.