More exhibitions, including Sonia Delaunay and Thomas Struth

Sonia Delaunay, Tate Modern, London

Don't go for the paintings, which are mediocre, but for the Russian-French artist's spectacular adaptation of the language of abstraction to the applied arts: swathes of zigzag silks and spiralling cotton, geometric dresses, film costumes, the original artwork for the unfurling poem "Prose of the Trans-Siberian", bookbindings, car design. tate.org.uk, 020 7887 8888, to August 9

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Thomas Struth, Marian Goodman Gallery, London

Monumental, panoramic yet intimate, documentary yet formal and concerned with different levels of pictorial possibility and visual signifiers, Struth's work has always been a masterly balance between the conceptual and, as he says, "observing the human theatre and what seemed to touch me most". His latest series was made over recent years working in Israel and the West Bank in locations including Tel Aviv, the Golan Heights, Ramallah and Nazareth, and spans landscape, architecture, new technology, family life. mariangoodman.com, 020 7099 0088, Thursday to June 6

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Inventing Impressionism, National Gallery, London

This scintillating, original exhibition narrates a history of Impressionism through the many trophy works passing through the hands of Paul Durand-Ruel, the inspired dealer without whom, Monet said, he and his friends would have starved. Visiting masterpieces include Renoir's life-size "The Country Dance" and "The City Dance", Manet's vertiginous aquamarine-black thriller "The Battle of the Kearsarge and the Alabama", and examples of Monet's "Poplar" series reunited from three continents. nationalgallery.org.uk, 020 7747 2885, to May 31

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Barbara Hepworth: A Greater Freedom, The Hepworth, Wakefield

In advance of Tate's major Hepworth survey in the summer, this show focuses on her last decade, 1965-75. These were prolific years when she concentrated on bronze, experimented with slate and with printmaking, and attached a fresh importance to carving in marble. By this point she was internationally recognised - she had represented Britain at the Venice biennale in 1952, and the UN commissioned "Single Form" in the 1960s - and had a new confidence. hepworthwakefield.org, 01924 247360, to April 2016

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Gianni Piacentino 1965-2006, Michael Werner Gallery, London

Piacentino is an unusual Arte Povera figure whose handcrafted sculptures, metal-plated, polyester-coated, or finished in pearlescent automobile paint, with or without wheels, take references, logos and phrases from the worlds of flight, racing, motorcycles and even sledging, and disrupt expectations about individuality versus standardisation, and art versus everyday objects. michaelwerner.com, 020 7495 6855, to June 20

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