Thanks not least to Maud Lavin’s 1993 study, Cut with the Kitchen Knife: The Photomontages of Hannah Höch, the centrality of Höch’s contribution to Berlin Dada is now generally accepted. But, based on the evidence of Daniel F. Herrmann, Dawn Ades, and Emily Butler’s rewarding Whitechapel Gallery monographic survey, that relationship was a complex one. Their show concluded with an extract from a 1974 German-TV documentary on the artist, in which she introduces her work first as Surrealist and later as an exploration of the “inherent laws of abstract beauty” underpinning artistic form. Neither

This past winter, London was noticeably flush with terrific exhibitions by women artists working with collage and montage: Hannah Höch’s tiny cut-up miracles at the Whitechapel Gallery, Hito Steyerl’s spliced videos rocking the Institute of Contemporary Arts, and Trisha Baga’s sprawling 3-D moving-image installations at the Zabludowicz Collection. A further addition to this collage overload came in the form of Marvin Gaye Chetwynd’s room-size installation Canterbury Tales, 2014. The whole ground-floor gallery—every last inch of the four walls, the floor, and a flimsy paper hut erected at

Thai artist Apichatpong Weerasethakul hasn’t let success go to his head. Despite winning the Palme d’Or at Cannes in 2010 for his feature film Uncle Boonmee Who Can Recall His Past Lives, he remains committed to making prints and short video pieces and showing them in relatively small-scale gallery installations. His recent show “Double Visions” included his latest video, Dilbar (made in collaboration with his boyfriend, artist Chai Siri, aka Teem, for the 2013 Sharjah Biennial), and contextualized it in unexpected ways with two earlier video installations and two large photographic images. The