It is conventional for artists to reflect their surroundings, experiences and inspirations, whether this be in a subliminal manner or overtly. But Paula Rego is by no means conventional. She is a rebel, a nonconformist, a freethinker. Rego doesn’t simply reflect the world around her, but soaks it in like an emotional sponge, before squeezing every last feeling out onto the canvas with passion and vigour.

As Karla Black’s first retrospective opens to the public, the institution she has paired with, Fruitmarket, also reopens with a new £4.3 million extension. In lockdown, the Edinburgh gallery has had the builders in. And from the fragile yet powerful works in this new show, it would appear, despite peaking covid rates in the Scottish capital, that the art scene might have survived the worst.

The domestic realm has moved to the forefront of our lives in recent times. It’s been doing service as our place of work and our place of entertainment. Eating in has replaced eating out. Our hopes and dreams have been largely limited to what’s attainable within our four walls.

The boat ride lasts only a few minutes, but it takes you to another world. Orford Ness is an island of salt marsh and shingle banks off the Suffolk coast inhabited by birds, rabbits, hares and a few small deer.

But the landscape is dotted with evidence of human activity – dangerous activity. “Prohibited Area. Photography and Sketching Forbidden” reads a notice in the Information Centre and, as you wander past the pink sea campions and delicate, yellow-horned poppies, signs reading “Danger Unexploded Ordnance” encourage you to keep to the designated pathways.

Drawing is the cornerstone of artistic practice, but is often overshadowed by "higher" forms of visual art, such as painting and sculpture. When we walk into an art gallery, we find ourselves gravitating towards the large, impressive oil paintings. They are considered the "main event", the best representation of art and its history – but is this really the case?

Did you wonder what all those creative musicians and artists did when they couldn’t perform in public last winter? Some of them started making films. Putting film of yourself online was, after all, a way of communicating with an audience, and had the bonus of being a potential promotional shop window for your work once people were allowed back in venues again.

Undoubtedly the strangest thing in this exhibition dedicated to Rodin’s works in plaster is a rendition of Balzac’s dressing gown, visibly hollow, but filled out nevertheless by the ghostly contours of an ample male form.

The focal point of Matthew Barney’s Hayward exhibition is Redoubt, a two-and-a-quarter-hour film projected on a giant screen that invites you to immerse yourself in the rugged terrain of the Sawtooth Mountains in Idaho, where he grew up.

David Hockney has a new toy, an app designed specially for him that allows him to work on an iPad with fine brushes. He spent the first five months of lockdown In Normandy making daily records of the coming of spring; the results are displayed in a large show at the Royal Academy (★★). Seamless animation turns his still images into a continuum.

Eileen Agar was the only woman included in the International Surrealist Exhibition of 1936, which introduced London to artists like Salvador Dali and Max Ernst. The Surrealists were exploring the creative potential of chance, chaos and the irrational which they saw as the feminine principle, yet they didn’t welcome women artists into their group.