ArtReview’s Oliver Basciano meets Bob and Roberta Smith on the occasion of the artist’s installation Factory Outlet, at Beaconsfield, London

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Magali Reus’s spare, minimal, sculptural and architectural interceptions onto the lengthy walls and high ceilings of Le Salle de Bains gallery, Lyon, have a fetishistic quality in the perfection of their industrial finish. This gleam has sublime quality, the ecstatic tempering of which is found in the seeming inhumanity (or even post-human machinic) feel that resonates from the objects. Reus addresses this in both the accompanying lineal film work, a career-first, which gives the exhibition its title, Background (all works 2009); and the almost unfathomable formal lineage that the objects evoke. As one passes through the exhibition the works conversely question the humanity of objects and the objectification of humanity and the intrinsic transference that operates between the two dichotomies.

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Though working through the medium of the windowpane, Tehran-based Mehraneh Atashi’s practice is far from the sublime glory of stained glass. Instead she focuses on the muddier, more pessimistic situation of modern urbanity. She uses domestic windows to daub almost secret interventions onto the Iranian capital’s cityscape, framed around the external view. In the Fear and Loathing series (2006–7), the artist adds formless figures flying close to the sun or falling from the sky, Icarus-like, over brutal housing blocks. This expression of doomed escape seems to run through her smeared use of applied clay in the 1386 Solar Hegira series (2007–8). The works call to mind the horror of confinement and drab boredom, turning the domestic into the institutional, the homely to prison protest.

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Bridget Riley describes her mother thus: “She was always pointing out colours: in the sea; the sparkle of dew: changes of colour when the dew was brushed away. If she arranged anything on the table like a bowl of fruit […] she would point out the colours. ‘Look it’s almost got a blue on it.’* She wasn’t a painter, she was a ‘looker’. The pleasure that one could get from looking was part of her personality.”

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Inspired by Day is Done, his loopy redux of American high school rituals and performances based on images in old yearbooks, the fourteen vignettes Kelley strung together in this seventy-five minute agony could have been brilliant.

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Well, that was a funny old art fair week here in London – some collectors saying it’s all back, some collectors saying the Americans will never come back, some collectors saying it’s all going to Paris and some collectors writing blog entries of strangely uplifting and frankly surreal stories about the artworld.

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Arch-early instigator of all things appropriated, Hans-Peter Feldmann opens his small but perfectly formed exhibition at London’s Ancient & Modern with just a single work.

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After an extensive twelve-year pre history, the gallery that Nick Serota predicted to be "one of the best galleries in Europe” opened its doors last Saturday 14 November.

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"International Art. For everyone. For Free" reads the large sleek slogan in the windows. Nottingham Contemporary, one of the most important new public spaces for contemporary art to be built in this country in the last decade, opened to the public this weekend.

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New York, New York is apparently Candice Breitz’s first live performance piece. Playing to a packed house – MoMA curators, the artist’s dealers from London, Tokyo and Milan; various Performa patrons; Jeanne Greenberg Rohatyn, Klaus Kertess and Billy Sullivan; Roberta Smith and Jerry Saltz, if they used the seats reserved for them, among others – it proved a most inauspicious debut.

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