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“... Jade?​ Arsenic? Celadon? Eau de nil? I can’t remember ever worrying so much about the way I might describe the colours at an exhibition. A glass vase in the shape of a grasping hand, from which emerges the outline of a photographed bunch of dead blooms, and beside this a lacquer box panelled in a similar green: many such artefacts and finishes in Marc Camille Chaimowicz: Nuit américaine, at Wiels in Brussels (until 13 August), prompted this nomenclatural fret ...”

“... Entering​ Give Me Paradox or Give Me Death, Roni Horn’s retrospective at Museum Ludwig in Cologne (until 11 August), you’re flanked by 96 photographs of her niece Georgia. The two grids of 48 seem to match until you’ve swivelled back and forth a few times and started noting certain fine disparities. Georgia’s grin slips, her head tilts, she peers at us through different holes in the slice of white bread she’s holding up as a mask ...”

“... There is something interesting to be said for everything around us,’ Charles Schulz’s Linus says in a Peanuts-derived commercial for Weber’s bread, first broadcast in the late 1960s. But there’s interesting and there’s interesting: sometimes you just get lost. The first work I saw by the British artist Helen Marten, about eight years ago, was a sculpture resembling a makeshift desk or lectern, on and around which were strewn various baked goods, a sheet of beaten copper and a pile of pizzeria flyers showing Gerhard Richter’s 1988 painting Betty ...”

“... Joan​ Jonas bought her first video camera, a Sony Portapak, also known as the Video Rover, on a trip to Japan in 1970. In the history of video art, there is no more celebrated piece of kit. It’s said that on its release in 1965 Nam June Paik was the first artist to start using this newly consumer-priced set-up. Andy Warhol’s videos of the same year (including a dazed portrait of Edie Sedgwick) were made with a large borrowed Philips camera, but he too began using the smaller and simpler Sony in 1970 ...”

“... The Palais de Justice​ in Brussels is a product of civic and architectural delirium, a Circumlocution Office looming over the historically working-class Marolles district like a sinister, secular basilica. It’s bigger than St Peter’s in Rome, covering an area of 26,000 square metres, with reputedly the largest accumulation of stone blocks in Europe ...”

“... About twelve noon on 13 November 1951, at a distance of about 200 yards, two distinct humps … something like a couple of ducks, not anything like a porpoise, or a walrus, or a whale, which have been suggested.’ Accounts of sightings of the Loch Ness monster, which provide one wryly mediated source for the Irish artist Gerard Byrne’s exhibition at the MK Gallery in Milton Keynes (until 3 April), have about them something of the cloud-spotting interlude between Hamlet and Polonius (‘’Tis like a camel, indeed … Or like a whale? … Very like a whale ...”

“... Biographies​ of great photographers tend, as you might imagine, to include the moment their subject acquired a camera and took a first shot. We’re asked to conjure little Henri Cartier-Bresson, or Jacques Henri Lartigue, on holiday with his parents and a Box Brownie, everyone eager for images. Chris Killip, who was born in 1946 and died in 2020, had never owned a camera or taken a picture when he resolved in his late teens to quit the hotel-management course he was taking in his native Isle of Man and become a professional photographer ...”

“... Acera bullata​ is a species of hermaphrodite sea snail or slug, discovered on coasts from Norway to the Mediterranean. It grows up to six centimetres long, has a brown or white shell and a speckled body that may range in colour from grey to orange. In sheltered bays, these molluscs settle into fine, soft mud or muddy sand, where they mate in undulant chains, half a dozen at once ...”

“... The​ American photographer Peter Hujar once told a friend who was feeling unattractive: ‘As you’re walking along, say to yourself: I’m me.’ Hujar’s subjects seem to have heeded the same advice: they exhibit a self-possession tending to the monumental. You can see it in his 1981 portrait of the actor Madeline Kahn. Hujar posed her in an empty studio, wrapped in a hulking, dark coat: she looks like a solid black mass from which face, hands and legs emerge ...”

“... I owe what sense I have of the power of the word to a man whose power depended on words failing him. The first time I heard the term ‘West Brit’, it was spat out by a florid-faced teacher at a suburban Dublin school in the early summer of 1981. He was, I suppose, feeling harried: a week earlier, the stick with which, stuttering to a stop, he would, thin-lipped, beat us, had been stolen ...”

“... The Escape is Adam Thirlwell’s third book. His first novel, Politics, was published in 2003 and won some acclaim for its energetic smut and (less frequently) for its alternately faux-naif and overreaching prose. He followed it in 2007 with Miss Herbert, a vagrant disquisition on the nature of style in the novel that had the feel of a lot of flashy undergraduate essays determinedly tacked together to make a passably book-like structure ...”

“... There are​ many ‘nice’ things in Claire-Louise Bennett’s fiction. The narrator – she seems to be the same person in all twenty stories – is hardly up in the morning before the nice things press on her: ‘Sometimes a banana with coffee is nice,’ she says in ‘Morning, Noon & Night’. ‘It ought not to be too ripe – in fact there should be a definite remainder of green along the stalk, and if there isn’t, forget about it ...”

“... We learn a lot about ourselves at the moment when we lose our balance. In the canon of philosophical pratfalls, a tumble taken by Montaigne, and recounted in his essay ‘On Practice’, is among the most instructive. Out riding one day with his retinue, Montaigne was seated (as M.A. Screech’s translation has it) on ‘an undemanding but not very reliable horse ...”

“... In 1944 and 1945, John Brinckerhoff Jackson surveyed the French and German countryside for the advancing US army. At the military intelligence training centre in Maryland, Jackson had been taught to see the territory he surveyed as an empty stage on which certain choreographed actions were to be performed, and others improvised in the event that the enemy, or the land itself, threw up surprises ...”

“... On the Petaluma Road, in the former Gold Rush territory of Northern California, a man inherits a farm, marries a miner’s daughter called Lydia Mendez and adopts a four-year-old boy from a neighbouring farm, whose parents have been murdered by a farm hand. His wife dies giving birth to their daughter, Anna. He leaves the hospital with two girls: the second, Claire, is the daughter of another mother who has died in childbirth ...”