The move from real life art encounters to online art encounters has been both inspiring and overwhelming.

When I was a young child, there were very popular television advertisements featuring The California Raisins — animated, anthropomorphised fruit singing rhythm and blues songs.  These claymation characters were simultaneously endearing and sinister, the latter because they seemed to be lurking in cupboards and lunchboxes, waiting for their moment to surprise us.  It is similar with artists Nathalie Djurberg’s and Hans Berg’s claymation characters in their trilogy of short videos, being shown in their solo exhibition ‘Who am I to Judge, or, It Must be Something Delicious’ at Lisson Gallery.  Except that the Swedish husband-and-wife duo’s characters are perhaps more perverse and insalubrious.

From the moment I first saw Wolfgang Tillman’s work, I have been captivated. There is an urgency in his photographs that draws you in and holds you in thrall. Tillmans, born in Germany in 1968, and currently dividing his time between Berlin and London, was the first non-UK artist to win the Turner Prize in 2000. It is ironic, then, to look at the anti-Brexit posters he just designed, featuring prominently on his website. But when politics fail, there is always poetry.

There is another Houston behind the concrete of the highways and the mirrored glass of the Downtown skyscrapers. Buffalo Bayou Park is a stretch of green, swampy grassland bordering the muddy banks of the bayou, the river mound. The downtown end of Bayou Park has just undergone an intensive $58 million renovation project that includes the large underground Cistern.