From historical displays to recent works by relatively unknown artists, from performance to installation, from politically provocative and conceptual pieces to ornamental presentations, this year’s Armory presented a well-measured display of opposing – even conflicting – trends within the art world .

Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.

With work from artists from South Korea, Europe and the United Arab Emirates, this exhibition considers the nation state and the geopolitics of globalisation.

In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.

Drawing on materials Tschichold collected, this exhibition traces his influence on graphic design between the world wars and his belief that design was a force for social change.

In 2007, the formidable art collection of Achille Maramotti, the man behind the Max Mara fashion house, was opened to the public. Sara Piccinini, senior coordinator of the collection, talks about the history of the collection, and the thinking behind its first rehang.

This exhibition of new work is more pared back than we have come to expect from Barlow. Her aim, she says, is ‘to come back to what is essential’.

The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.

Through site-specific installations, this visually splendid exhibition explores the role of the artist’s studio in contemporary practices.

Harald Sohlberg’s paintings of Norwegian houses and snowy mountains are saturated with colour and mystery, making Dulwich Picture Gallery’s exhibition of his work the perfect way to see out the winter months.