The regional art world has been waiting for this moment for the past decade and now, the Louvre Abu Dhabi is finally ready. Here is a first look inside. 

Pierre Dunoyer's entire practice is dedicated to abstraction and the experience between the viewer and the artwork. 

Mohamed Abla has explored paper marbling and folktales from across centuries in his latest exhibition, The Silk Road. Playful and enchanting, the pieces also emit a sense of time passing.

Sand is the title of the current exhibition at Grey Noise, where at points a viewer can feel as if they are floating on air and at other times, weighed down by gravity.

Theatre of the Absurd is a group exhibition featuring artists that use architectural language in their practice and explore the relationship between the body and space

Ramin Haerizadeh's solo show in Dubai is both a physical and symbolic collage of works spanning over the past eight years. There is a good dose of absurdity and humour too. 

Thameur Mejri is a young Tunisian artist whose frantic, colour filled canvases express the chaotic mindset of his generation. it is not the outer figure that Mejri is interested in portraying; these are portraits of the internal landscape of the mind.

Is it necessary to know Fahrelnissa Zeid’s life story before you can appreciate her art? From her sprawling abstracts to compelling portraits, the current retrospective at Tate Modern charts her life’s work and weaves in her biography too. 

Good Printing is an exhibition that explores the medium of print without showing any prints. The 10 artists have work that questions the nature of reproduction and the originality of the image

I AM is a touring exhibition of work by Middle Eastern female artists, which attempts to redress engrained stereotypes. It is currently showing in London

This UK debut exhibition for three Saudi artists uses the metaphor of shifting desert sands to talk about rapid urbanisation and modernisation in the Gulf region.

As Egypt struggled for sovereignty in the mid 20th century, the country's female artists were also striving for a voice, not only for themselves but across classes, gender and race.

Listening to a description of the materials that feature in Lisa Ross’s photographic series Living Shrines, raises doubts as to where, exactly, the living ­element comes in.

Terry Smith, an art critic, outlined this definition by saying that although artists in the 1970s and 1980s did not want to define their work, it would eventually be labelled as conceptual – the goal was to keep the audience guessing, not offer answers to themselves or their viewers – and to keep themselves at a critical distance from the very institutions they were railing against.

This exhibition is also is the first time these two artists have been compared in a scholarly fashion, which is important, not least because Picasso was a notoriously difficult character. His friendship with ­Giacometti seems to reveal a lot of respect for the younger’s talents.

Clearly trying to cause public debate, Omari will no doubt be successful in that, because this is not the kind of show that a viewer can pass over without comment but unfortunately, the artwork does not shed light on what it is like for these people, forced to leave their homeland with whatever they can carry and fall victim to traffickers, crooks and a whole corrupt system.

It is testament to the Lebanese artist’s mastery of the medium that, as his viewers take in each work as a whole, its stories reveal themselves easily. In his latest show, the tales are heartbreaking realities of our time.