Sarah Sze makes site specific installation.  Using commonplace, ephemeral objects, her works penetrate the gallery, protrude from walls and furrow up from the ground.  For this exhibition, her second solo show at Victoria Miro, the artist takes over both floors of the gallery to create a conceptual constellation of everyday objects.

It is about our perceptions of space, how we imagine ourselves within the confines of a particular location.  In this sense, Sze transforms the gallery into a kind of laboratory.  Works titled Model for a Weather Vane, Model for a Twin, Model for a Print and Model for a Diviner make clear her preoccupation with art being a test site for an hypothesis.  The gallery is the conference for this congruence.   These are works that revel in and are defined by their intricacies.  Tactile works that humour the medula oblongata.

Sarah Sze is at Victoria Miro until 11 August.

Conceptual art gets a bit of a bad rap nowadays.  Mostly it's seen as a relic of the 1960s and 1970s, despite the fact that its core continues to act as an influence and precursor to (especially British) gallery installation that has become especially popular since the 1990s.  Unfortunately, Conceptual Art has turned into almost a hybrid art form, one whose tenets are sometimes bastardised or shoehorned into fine arts.  Ryan Gander is an exceptionally talented, and justifiably rewarded, contemporary artist.  He is also a throwback to this essence of 'pure' conceptualism.

The Fallout of Living is the new exhibition by Gander, at Lisson Gallery in Marylebone.  This is the second solo show of the artist's at the gallery, and it sees Gander mark a specific, and relatively unexplored, direction in his work.  Comprised of all new material, the exhibition refers to the moment in an artist's life when they have become so ensconced in their work that the barriers between art and life have become blurred.  Everything from the clothes the artist chooses to wear, the food the artist eats and the placement of objects in the artist's house is affected by this moment.

Ryan Gander is a very special artist, and he creates narratives that are mystical and ethereal but always grounded in everyday, recongnisable commonalities.  This kind of vision is rare, and through Gander's eyes it is wonderfully enriching.

Ryan Gander: The Fallout of Living is at Lisson Gallery until 25 August.

The ICA has done well with this one.  Really well.

In the gallery are fourteen blank white speakers.  Each speaker plays a recitation of the days of the week from one of seven performers.  This continuous stream is 'Days' by Bruce Nauman.  The work has a significant and auspicious history.

'Days' was created for and debuted at the 2009 Venice Biennale, where Nauman represented the United States.  In 2010, after the Biennale's close, the work was acquired by the Museum of Modern Art, New York.

The work is simple, but perhaps not as deceptively simple as one might imagine.  Nauman works with languages, in their most diverse forms.  Systems of language, apparatuses of language, spatial and corporeal encounters of communication.  'Days' may just be seven people naming the days of the week on loop, it may also be a comment on the banality of time, a reflection on the human construct of measurement, and ultimately an examination of another human construct: commemoration and memorial.

Days is at the ICA until 16 September.