Osborne Samuel, London, until 18 October 2014
Any enthusiast for graphic art should head down to Mayfair’s Osborne Samuel this month to see a comprehensive exhibition of the superlative prints of C.R.W. Nevinson. The British artist most memorably made Futurist images of the First World War, although the looser, picturesque, post-war landscapes demonstrate how broad his skills were.

GRAD, London, until 27 November 2014
The centenary of the First World War is an opportunity to understand the conflict from other countries point of view as well as that of Britain. The capital’s GRAD gallery enlightens us on the Russian experience of the Great War, through both archive material and artworks, including woodcuts by the modernist Natalia Goncharova, which make a fascinating contrast with the work of Nevinson.

Across London, until 11 October 2014
It was, of course, émigrés escaping successive conflicts in Europe who, when they came to Britain, helped transform the country’s art and architecture. The National Trust is organising a new programme of its cultural Routemaster tours of London this autumn, including a tour that takes in the exceptional work of Ernö Goldfinger, whose pioneering modernist buildings – such as Poplar’s Balfron Tower – set a template for the capital’s twentieth century built environment. For two weeks from 1 October, the National Trust is opening to the public the flat (No 130) in which Goldfinger himself lived in the Balfron Tower.

Pace London, until 8 November 2014
The subject of a new show at Pace London, Arte Povera associate Mario Merz is famous for his use of one particular form: the igloo. The Italian artist-intellectual has build half-hemispheres out of unlikely materials since the late 1960s, and included in Pace London’s exhibition are two examples, one rudimentarily wrought in sheet glass, the other in sheets of stone. Together they comprise one work whose title – Movements of the Earth and the Moon on the Axis (2003) – asserts celestial associations on these primitive habitations.

South London Gallery, until 23 November 2014
In 1968, Lawrence Weiner produced a book Statements in which epigrammatic pieces of text described actions or objects. In the American artist’s conceptual framework there was no need to actually perform or produce the projects, as the texts – and the ideas they communicated – were sufficient. Since the 1970s he has continued along the same lines, inscribing enigmatic texts in non-descript fonts along gallery walls, through the process exploring what words can convey.

Michael Werner, London, until 15 November 2014
And, last but not least, I’m looking forward seeing Kai Althoff’s work ‘in the flesh’ for the first time, as his solo show opens at Michael Werner’s smart London space. German Expressionism appears alive and well in the Cologne-born, New York-based artist’s paintings and drawings.

Sam Phillips (@SamP_London) is Editor of RA Magazine.