A display of rarely seen photographs of key ballet dancers from the start of the 20th century goes on display at the National Portrait Gallery. The gallery holds the largest surviving archive of the once-fashionable Bassano Studio, London, including portraits of Anna Pavlova and the great classical dancers Adeline Genée (6), Phyllis Bedells (main) and Ninette de Valois (2), founder of the Royal Ballet.

The unseen Dalí? Surely not. Anyone who ever popped into Dalí Universe, the now defunct gallery on the South Bank which was devoted to the flamboyant Surrealist's work, might well ask. Since there have been so many editions of his well-known sculptures, cast in prodigious numbers both during his lifetime and after his death in 1989, it seems only right and proper to raise a sceptical eyebrow: what more, indeed, is there to discover? And not just this. There’s a further thorny question of authenticity. The posthumous sculptures still manage to fetch a price, of course, because Dalí gave permission for them to be made – so all legal - but purists remain unconvinced.

Fashion and conceptual art come together, sometimes awkwardly, often provocatively, in the Royal Academy’s third and final annual GSK Contemporary exhibition. Instead of celebrating glamour and excess, designers and artists – as well as those, such as Helen Storey (1) and Hussein Chalayan, who have successfully made a fashion to art crossover - take on big themes: cultural and personal identity, conformity and freedom, globalisation and the environment. The exhibition explores the shifting concerns that have preoccupied these practitioners over the past five decades.

The winner of the National Portrait Gallery’s Taylor Wessing Prize was announced yesterday, and as with most prizes you know there must be an element of compromise when it comes to selecting the shortlist. David Chancellor’s winning portrait of a 14-year-old game hunter from Alabama, mounted on a horse with a dead buck draped across its neck (2), is certainly striking. So too, are the second and third prize-winners - the second, Portrait of My British Wife by Panayiotis Lamprou (9), doubly so, since it reveals more than one might expect to see in the context of this annual award.

Exhibitions about fashion tend to divide the public. Those passionately interested in fashion go to them; everybody else doesn’t. There’s a prevailing view that we already hear enough about top models, superstar designers and their attendant dramas through the media, the high street and the imposition of having to go and buy the stuff, without extending the experience into the art gallery.

Whether you think the weird world of Walter Potter is cute or creepy, there’s little doubt that the Victorian taxidermist, and creator of humorous tableaux in which fluffy creatures enact human scenarios, has acquired some standing in the art world. When his museum collection went under the hammer at Bonham’s in 2003, Damien Hirst, David Bailey, Harry Hill and Peter Blake each bid for valuable items. Now each has contributed to an exhibition that not only recreates part of Potter’s original museum, but invites us to celebrate the quirky art of the outsider artist.

Contemporary art can, unsurprisingly, become dated pretty quickly – the clue is in the name. Another of Damien Hirst’s mirrored cabinets of pills or of Gavin Turk’s piss-takes of Andy Warhol at the Frieze Art Fair in Regent’s Park is hardly the sort of sight which will enthuse hardened art-gallery goers.

The 2010 Brighton Photo Biennial has seen unprecedented numbers of visitors flock to the coast, and tonight will host a talk by one of the most original fine-art photographers working in Britain today. Wolfgang Tillmans will explore his unique and hugely influential approach to photography and the relationship between contemporary art and documentary and will undoubtedly cite his latest projects, the refreshing summer exhibition at the Serpentine Gallery and the recently launched, more audacious event at Liverpool’s Walker Art Gallery.

A near contemporary of the great jazz photographer Herman Leonard, who died last August, Don Hunstein has amassed a formidable collection of images of some of the most indelible names in music, from Miles Davis and John Coltrane to Johnny Cash, Louis Armstrong and Leonard Bernstein. His work with Bob Dylan in the Sixties, when Hunstein was a staff photographer for Columbia Records and Dylan was the visionary folk singer daring to cross the frontier into rock'n'roll, have become an indivisible part of the myth of the Bard of Minnesota.

Our culture is hungry for stories of buried treasure, for the lost archive. So when something of startling value is brought blinking into the light after many years, it answers a romantic urge. Of course it doesn’t happen much any more, not in a digitised e-culture in which, like Puck in A Midsummer Night’s Dream, you really can put a girdle round the Earth in no time at all. Something interesting has just cropped up in Italy, mind.