An exhibition showcasing the work of Tschabalala Self is currently on display in London's Trafalgar Square. The Fourth Plinth project, which has featured various contemporary artworks over the years, now includes Self’s sculpture, which is said to evoke positive emotions and smiles. The exhibition runs alongside another display of Beryl Cook’s vibrant artwork at the House of Voltaire in Bicester Village, where it will remain until 25 October. Some observers have noted visual similarities between Self’s Trafalgar Square piece and Cook’s dynamic paintings, though both artists have distinct styles and backgrounds. In London, Peter Howson’s emotionally charged paintings depicting the Passion of Christ are on view at the Flowers Gallery until 10 October. His work is known for its raw and intense style, capturing religious themes with a deeply personal touch. Meanwhile, Liz Larner’s sculptures, which explore themes of myth, transformation, and the fragility of the natural world, are on display at the Camden Art Centre until 17 January. In addition to her sculptures, Larner has recently begun creating ceramics inspired by the shapes and forms of asteroids. Monika Sosnowska’s abstract sculptures and installations, reflecting Poland’s complex historical experiences, are on display at the South London Gallery until 22 November. Her work often engages with the tension between the human body and architectural forms. Separately, the theme for this year’s biennial European Prize for Urban Public Space focuses on architectural projects that repurpose infrastructure originally built for vehicles. One of the five finalists, Round About Baths, is a public swimming pool created by Swiss architect Leopold Banchini in Logroño, northern Spain, by transforming an outdated roundabout into a functional urban oasis. At the National Gallery in London, a 1515 painting titled "Saint Paul and a Donatrix" by followers of Gerard David is on display. The artwork is part of a multi-panelled wood panel and depicts a woman from a wealthy couple in Bruges, kneeling in prayer with Saint Paul behind her. The painting reflects a common practice in late medieval and Renaissance Europe, where wealthy individuals commissioned altarpieces for church chapels, often including their own image as a form of devotion or legacy.