Chris Wiley

The Drawing Center, in New York, presents a historically and formally diverse collection of works by incarcerated artists

Ruby City resembles an edifice of red Texas rock; inside, the museum is airy, white and church-like

A tribute to the photographer, from the ‘sucker punch’ of The Americans (1958), to his later work ‘howling with anguish, frustration and ennui’

In the DESTE Foundation’s summer shows, new art from Greece (and Kiki Smith)

In her compellingly off-kilter sculpture, Reaves imagines strange and dire futures

In the Iranian artist’s work, memory is smudged, an accretion of sorrows or nameless longings, a pile of waterlogged books in a flooded library

‘After Kurzweil’s book landed with a thud in the centre of our culture, it was impossible not to address its claims’

Chris Wiley undertakes a gallery crawl during SP-Arte, taking in shows by Hilma af Klint, Paulo Nimer Pjota and Nicolás Paris

At the Whitney Museum of American Art, New York, the artist’s retrospective explores love, loss and identity in the works forged by her AIDS activism

‘Elastic Hours’, the 8th edition of the Sequences biennial in Reykjavik, Iceland, took time scales – both short and long – as its subject

Arsenale and Giardini, Venice, Italy

The first of three articles exploring art, class and precarity: a range of artists, curators and writers explore how class shapes art-making today

Two recent films show contrasting attitudes to the indigenous cultures of the Amazon 

The best art eludes easy interpretation

How a generation of artists is re-ordering the building blocks of photography

Whitney Museum of American Art, New York, USA

What are the histories of artists engaging with emergent technologies? How has Post-Internet art come to be defined? And what happens next? frieze asks eight artists, writers and curators to reflect

David Zwirner Gallery & Salomon Contemporary