With a lap round The Serpentine in Hyde Park taking the time up to ten o’clock, the first gallery of today’s run should now be open. But alas, my check of opening times on the internet last night was not done accurately enough and it turns out the gallery is in fact closed today for refurbishments. Fortunately one of their artists, Sanford Biggers, is showing just a few hundred metres away at Phillips auction house. The good fortune of spotting the gallery artist in this alternative venue is further enhanced by the quality of the work. It comprises a delicately stitched, embroidered quilt cover with a back story that it was donated to the artist along with many others from families whose ancestors were effected by slavery. This has become part of the rich historical narrative of the artwork itself.

A few blocks along in Victoria Miro, Stan Douglas is displaying photographic-based work. Although primarily the show focuses on high-resolution photographic reconstructions of the London riots of 2011, there are also two abstract works. These additional abstract works are fascinating because they are actually based on simple jpeg images of geometric shapes but where the information of the original digital files has been altered in a systematic way. The resulting rhythmic patterns, we are told, reveal the wave patterns that make up the structure of all jpeg files.

Nearby in the hub of galleries close to the Royal Academy, Pace Gallery is showing some of the American Abstract Expressionists. The dominant figure in this group, at least from an historic perspective, is Kenneth Noland, and the show builds on this popularity by also including works from other important artists from that movement including Frank Bowling and Sam Gilliam. The former has poured paint down the canvas and despite the absence of a brush, has created an elegant and ordered painted surface, evidenced by the clean boarders on either side of a main channel that comprises a complex multi-layered surface of paint. Meanwhile, the latter artist has removed his canvases from their stretchers altogether. They have been bunched up into a few hanging points and suspended from the gallery walls.

The London art scene is buzzing right now with the Basquiet show at the Barbican. Today’s run actually takes in a concurrent show in the building’s second gallery, known as The Curve. John Akomfrah has collected a multitude of chemical containers with their coloured residues still visible in white plastic grooves. He has then suspended them from the ceiling where they mingle with the lighting to create a stunning spectacle of glowing white plastic. The artwork actually references the anthropocene, an emerging name for Earth’s most recent age, and one that is characterised by human influence rather than geological change. On this account, the artwork draws more attention, in fact, to the pollution of these chemical containers than to their sublime beauty. Perhaps also on this solemn note, it is where today’s blog comes to a close, though the run itself would take in David Blandy at Seventeen, Omar Ba at Hales Gallery, Alan Belcher at Greengrassi and Abel Auer at Corvi Mora, all offering great exhibitions over the rest of the day.

Sanford Biggers of Massimo De Carlo on show, and for auction, at Phillips.

Stan Douglas at Victoria Miro with a manipulation of a jpeg file. These familiar digital files, used for storing images, use clever techniques to compress them and the artist has intervened in some way to produce an image that reveals this underlying technique as an image of its own.

Frank Bowling often represented in London by Hales Gallery on show here at Pace Gallery.

Sam Gilliam at Pace Gallery with a detached canvas.

John Akomfrah represented by Lisson Gallery showing at Barbican. These are chemical containers that the artist has used to represent, with some beauty, the Anthropocene, our current geological time period by some accounts.

David Blandy of Seventeen Gallery with a digital reconstruction of the solar system.

Omar Ba of Hales Gallery draws on the experiences of his native Senegal to develop his rich symbolic language in paintings.

Alan Belcher at Greengrassi with paintings of geometric objects that accompany, in his show, paintings of ducks, fish and shellfish each having a surreal quality.

Abel Auer of Corvi Mora.