Exhibitionist: The week's art shows in pictures

Andy Warhol, Sheffield In these late self-portrait screen prints Warhol's trademark mask of deadpan composure is crowned by wigs and barely conceals a more vulnerable Warhol. Yet there is also a pathos here worthy of Buster Keaton, the deep sadness of one haunted by self-created personas that no longer seem to fit. Above, Andy Warhol, Self Portrait with Platinum Bouffant Wig, 1981. At Graves Art Gallery until 1 December 2012 Photograph: The Warhol Foundation for the Visual Arts Photograph: PR Matthew Monahan, London Monahan's sculptures have a vulnerable quality. Created in fragments, held together with pins, and with their hollow insides visible, they suggest frail bodies and the traumatic clamour of the metal foundry. Above, Cold Shoulder, 2011. At Modern Art , W1, until 12 May 2012 Photograph: Serge Hasenbahler/Courtesy of Stuart Shave/Modern Art, London Photograph: Serge Hasenbahler Olivia Plender, Milton Keynes Plender's first big survey takes a wry, questioning approach to all manner of educational models, from grassroots groups to major institutions and organisations. Above, Newsroom (2008), Installation view from The Greenroom: Reconsidering the Documentary and Contemporary Art, Hessel Museum, CCS Bard, New York. At MK Gallery , 20 April until 17 June 2012 Photograph: Chris Kendall/Image courtesy and copyright the artist Photograph: Chris Kendall Michael Dean, Leeds Concrete slabs lean against the walls on a specially fitted wall-to-wall wool carpet. Seeming to mimic the architectural spaces in which they are set, the sculptures have titles as heavy as their subjects: Education, Health, Home. Above, Hands at 'government (working title)', 2012. At Henry Moore Institute until 17 June 2012 Photograph: Michael Dean/Courtesy of the artist, Herald St, London and Supportico Lopez, Berlin Photograph: Michael Dean Stan Douglas, London Douglas got into his role as a postwar press photographer to create his series Midcentury Studio, using actors and vintage as well as new technology to recreate overlooked moments from American history. Above, Juggler, 1946, 2010. At Victoria Miro , N1, 18 April until 26 May 2012 Photograph: Courtesy the Artist and David Zwirner, New York and Victoria Miro, London Photograph: PR Tony Swain, Edinburgh Newspaper images of vast landscapes or intimate interiors are collaged and worked into with a bold yet sensitive painterly application that lifts newsworthy scenery and topography into dreamlike realms of atmospheric resonance. Above, Diet of Omissions, 2010. At Fruitmarket Gallery , 19 April until 8 July 2012 Photograph: PR Willie Doherty, London This show of Doherty's lesser-known early photos, from 1985 to 1992, has all the dank gloom and burgeoning menace of his lauded films. In these nascent works, snipped bits of text narrate the photos like movie subtitles. Above, God Has Not Failed Us (1990). At Matt's Gallery , E3, 18 April to 27 May 2012 Photograph: Image courtesy the artist, Alexander and Bonin, New York, and Matt's Gallery, London Photograph: PR Subversion, Manchester This timely exhibition of installation, video, photography and sculpture from the Middle East takes an irreverent attitude towards assumptions about Arab identity. The grandiose ponderings and special effects of Stanley Kubrick's 2001: A Space Odyssey have been recast by Larissa Sansour in Palestinauts (above). At Cornerhouse until 5 June 2012 Photograph: Courtesy of the artist, Larissa Sansour Photograph: PR