Victoria Comstock-Kershaw

www.fetch.london — How do you view reality? This is the question asked by Cătălin Marius Petrișor Hereșanu's paintings at his exhibition at Elizabeth Xi Bauer.

www.fetch.london — £41.3 million later and still no good portraits: The National Portrait Gallery's re-opening sheds light on an obvious yet easily forgotten truth of museum curation: no amount of avant-garde architecture or progressive placards can save a collection if the artwork itself is bad.

www.fetch.london — The fact of the matter is you cannot claim to be anti-authoritarian while charging £1,200 for t-shirts.

www.fetch.london — The community, cultural pride and outrageous fingernails of 'the worst beach in New York' are celebrated and preserved in Brooklyn-based Wayne Lawrence's documentary of Orchard Beach: The Bronx Riviera. His portraits of the men, women and families of the 'Puerto Rican promised land' are a visually stunning and socially fascinating look into an untold corner of American culture.

www.fetch.london — Deptford may seem like a a surprising choice for the home of a contemporary art gallery, but it's a burgeoning artistic hotspot. The locale surrounding the white bricked, high-ceilinged gallery of Elizabeth Xi Bauer is teaming with studios and art collectives, including their own in-house studio. The gallery's first exhibit of the year, Rolling With The Homies, is a delightful condensation of the sort of fresh, eclectic art being produced in and championed by the area.

www.fetch.london — Radical neutrality, as described by art historian Michio Hayashi, is the core of Tadaaki Kuwayama and Rakuko Naito's latest exhibition. The husband-and-wife duo, both of whom studied at the Tokyo National University of Fine Arts and Music before emigrating to New York in 1958, have been working together for an awe-inspiring six decades, settling briefly this month at The Mayor Gallery.

fetch.london — One of the most quoted snippets of art criticism of all time is from John Berger's Ways of Seeing: "You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakedness you had depicted for your own pleasure."