After a run through St James’ park and spotting a black swan, which in 1738 was used as an example by philosopher David Hume of an inconceivable event of such rarity that it might as well be compared to the Earth no longer orbiting the sun, today’s run continues northwards to the first gallery of the day. The galleries themselves are subject to similar laws of induction that aroused the attention of Hume, whereby oft repeated events start to seem almost necessary in the future, and in this vein, today’s planning takes into account that it would be almost inconceivable that White Cube gallery and Marian Goodman should not open at 10am, Sadie Coles HQ and Thomas Dane galleries would not open at 11am and Mother’s Tank Station would not open at 12 noon, though in the case of the latter there is slightly less inductive certainly of this owing to the status of the gallery as a relative newcomer.

With an itinerary set out, then, for the arrival at each gallery shortly after their respective opening times, the run is under way. First stop is White Cube. Haim Steinbeck has made elaborate shelves that look almost like triangular plinths. He has then arranged objects on them and in many cases even embedded the objects into smaller triangular plinths that nestle into the larger ones, fitting snuggly due to their precision of craftsmanship. The press release claims that these resting and embedded objects evoke nebulous associations reminiscent of how words function in a sentence. As a witty addition to this worthy aim, the current show uses surfboard fins in a variety of different coloured plastics. They have been flipped over whence they resemble the fins of sharks, the bane of any surfer, and function as a cipher for the commodified terror that has permeated our popular culture with films like Jaws. Elsewhere and with the clock confidently past 10am Marian Goodman gallery is hosting Hiroshi Sugimoto. This artist has photographed movie theatres and music halls incorporating a white projector screen as both focal point and also sole light source. Appearing as brightly lit, white rectangles these screens have in fact acquired the illusion of being white through the conjunction of the flickering forms of an actual movie and the long exposure of the artist’s photograph.

As the clock strikes 12 noon, Mother’s Tank station seems to be strangely elusive. The SatNav dot is directly above my location and then a glance upwards reveals the viaduct that straddles Farringdon road and which defines the upper level of the City’s geography at this point upon which Mother’s Tankstation is also situated. Yuri Pattison has excavated into the fixtures and fittings of the gallery’s temporary space and created small cavities. A square ceiling panel is casually pushed to one side whilst on the floor, tiny traces of carpet adhesive accompany the occasional excavations downwards. Circuit boards and computer screens populate this strange part-hidden world and on these circuit boards, which are fully functioning, software creates migrating crowds of tiny figures which interact with each other and even, as the gallery assistant tells us, commit a few murders.

Finally, at Whitechapel Gallery a small show of previously stored artworks is enjoying a rare exposure to the public. Michael Borreman’s hoodie portrait is stunning whilst Jim Lambie’s red and and silver bags is equally impressive . It is assembled, one assumes, into some sort of soul, since the secondary theme of this show is portraiture. Lambie’s piece actually evokes the feeling that it has been seen before which either means that this is the case or, more impressively perhaps, that it hasn’t been seen before, since this after all is the remit of the show, and that instead it has acquired its sense of familiarity by actually tapping into some sort of fundamental truth which simply makes it seem familiar.

Black swan and white swan in St. James’ Park.

Haim Steinbach of White Cube with wall mounted arrangements of objects that create associations like sentences.

Hiroshi Sugimoto at Marian Goodman Gallery with photos of old cinemas. The artist has used long exposures whilst a film plays in the cinema he is photographing, causing the cinema screen to appear white.

Thomas Schutte of Frith Street Gallery with glass busts blown in the Murano workshops of Venice.

Catherine Opie of Thomas Dane Gallery with intimate photographic portraits.

Yuri Pattison of Mother’s Tank Station with computer screen imbedded in the gallery ceiling which is showing crowds of small figures. These are generated by a computer programme and can be observed acting in certain ways and with certain objectives.

Ad Minoliti at Project Native Informant with an installation of painted wall and two inkjet reproduced images.

Jim Lambie of Sadie Coles HQ at Whitechapel Gallery.

Michael Borremans of David Zwirner with a typical hidden face painting, at Whitechapel Gallery.