AT THE HEART of Tate Britain’s retrospective of Peter Doig is a room of paintings for which the artist is perhaps most known: the “Concrete Cabin” series of 1991–96, comprising views of a modernist building seen through thick, dark trees. Among these works, Cabin Essence, 1993–94, is one of the best, featuring a large expanse of forest with strange floating leaves of paint, composed as though the whole image were a reflection in water. Visible through the trees is the modular black-and-white facade of Le Corbusier’s Unité d’Habitation apartment building in Briey-en-Forêt, France, but the emphasis

In the 1970s, when Anthony McCall’s Solid Light sculptures were first projected in galleries and loft spaces, cigarette smoke and dust particles filled the air promiscuously, allowing his room-size sculptural projections to function. Before the days of smoking bans and filter systems, works such as Line Describing a Cone, 1973—a projected white dot in a completely darkened space that slowly grows, over thirty minutes, into a circular line on the facing wall, eventually filling the blackness with a conical “volume” in space—did not depend on a hazer of the kind that is nowadays used to produce

Comprising several collages, all named Untitled (Figure de style), Jimmy Robert’s show—the first in this city by the Guadeloupe-born, London-educated, Brussels-based artist—was an exercise in elegance. Meaning either a literary trope or a sequence of dance steps—and, in fact, Robert’s work deftly weaves these terms together as form and reference—the exhibition (titled “Figure de style” as well) also included several constructions that verged on small-scale sculptural installations, and an opening performance, subsequently presented as a looping video on a monitor greeting visitors to the gallery.

To inaugurate its new second space in the House of St. Barnabas-in-Soho, an important eighteenth-century building on Soho Square, Riflemaker chose Marta Marcé’s “Diadem Paintings,” which the artist began last year while on a residency at Camden Arts Centre and completed in her studio in Barcelona. The unusual way the paintings were presented, emphasizing their merely temporary occupation of the space, underlined the potential incongruence between contemporary abstract painting and a Grade One–listed regency hall where nothing can be affixed to the wall: Two of the paintings, Flow 1 and Flow 2