Art education has been in the news recently and is somewhat of a political hot potato; since the rise in university tuition fees art schools across the country have been safeguarding themselves from the inevitable loss of income. Is there a better time for this, the Wide Open School, a paid-for exhibition of workshops, displays and salons, to open at the Southbank Centre? Probably, but inclusion is the watchword, and the Hayward Gallery have put together quite the roster of guest tutors.

Divided into nine departments, visitors will have the opportunity to learn from some of the world's most impressive artistic minds, including Gillian Wearing, Ernesto Neto, Jessica Voorsanger, Jane and Louise Wilson, Harrell Fletcher, Wolfgang Tillmans, Yael Bartana, Susan Hiller, Raqs Media Collective, ever-presents Gormley and Emin, and many, many more besides.  There are over a hundred artists, representing over forty countries.

In all honesty, the concept and execution of Wide Open School contains inherent ironies and paradoxes, and from this distance it almost feels too curator-led. However, the opportunity to have this closeness to the minds and opinions of your favourite artists (and, potentially, some of your new favourite artists) is undeniable; Hayward Gallery have collected a startlingly good faculty. Your dear old Culture Editor is snapping up tickets left, right and centre, secretly wishing that you're not doing the same.

Wide Open School opens at Hayward Gallery today, until 11 July.

Jerwood Space, that terrifically good arts venue tucked away a few roads up from Tate Modern, present the latest in their Encounters series; exhibitions of newly commissioned work by artists working collaboratively and who have been influenced by current shifts in digital culture. This latest series of commissions is a display of new work by starlets Kim Coleman & Jenny Hogarth, The Hut Project, and Charlie Wooley.

The three take very different approaches, but together explore the notion of collaborative or participatory space, online and in its relation to the gallery. Charlie Wooley displays an installation, comprising beanbags, rounded tables and multicoloured hanging light fixtures. The aim seeming to be to replicate what constitutes a hip and trendy social space. The Hut Project display a video: a very high quality documentation of a newly choreographed dance. Kim Coleman and Jenny Hogarth pore things back to their basics, re-presenting their blog in the gallery itself. Deconstructing the elements that comprise it, viewers are encouraged to click through pages and video footage to see all its constituent parts in one multifaceted interface. Though it is an incredibly difficult thing (both physically and conceptually) to present the digital within the formally linear framework of the art gallery, these three artists and artist collectives exhibit inspired object-based displays. It is baby steps into mashing the digital into the analogue, but it is very well done.

Assembly is at Jerwood Space until 24 June.

What do you do when it's summer in Soho and you're stuck, well, in Soho? You only get an hour for lunch but you want some peace in the sun, among a buzzy and sun-weared crowd. Unless you happen to work by Green Park, St. James' Park, Kensington Gardens or Hyde Park, you have the option of a number of the areas squares, though most of which can get to standing room only, and that's no fun. Pop by Golden Square and if you're unlucky enough to miss the free pizza, then walk into the cool and distracting Frith Street Gallery for this show of Juan Muñoz.

Co-curated by Jane Hamlyn (of the Hamlyns) and Guardian art critic Adrian Searle, this show features a number of works that were meant to be a part of Muñoz's large-scale exhibition Double Bind at Tate Modern in 2001. That commission turned the Turbine Hall into a series of inaccessible moments, viewable through passenger lifts and trompe 'loeil shifts in light. In this exhibition further draws on this moment of forced perspective, illusion and visibility.

It's an exhibition that is rewarding if approached with a slight knowledge of the subject, but which is amply provided in the exhibition notes. When regarded through the spectre of history, the sculptures, prints and drawings take on an extra dimension. Simply, Muñoz presents a different point of view, one that once it has been seen cannot be unseen. It's an unsettling but oddly satisfying process. It's a knowledge, gained through experience, that is complex in its fundamentals but is remarkably simple to acquire. Once you realise this, only then does it occur how strangely hypnotic and psychologically complex this work - and this artist - really is.

Juan Muñoz: An Inaccessible Moment is at Frith Street Gallery until 20 June.