Evolving Styles: Live Street Art Auction
As a rebellious imp of a youth, I could tag with the best of 'em. Fat, red marker in hand, I was proud to scrawl my mark, branding the opportune spots that I came across as all mine. Proud, that is, until the night I got nabbed and the rotund officer of the law, who looked unfortunately paternal, shamed me out of action. Whilst it would be hyperbole to suggest that he set me on the straight and proverbial narrow, I never tagged again, thus terminating what might otherwise have been an illustrious career as Banksy's arch nemesis. Whilst the chance of owning an original Addie might not appeal to most, this month sees the launch of Evolving Styles, in which some of the finest international street artists, including NY's Lady Pink and Barcelona's Mr Kern, set to work on a series of canvases that then go up for auction. With Cargo's DJs providing inspiration and a barbeque to keep bellies full, Sotheby's this ain't. But the chance to pick up one of these unique masterpieces for a lot less than Banksy's Pie Face (£192k) with all proceed going to charity should be incentive enough.

Gavin Turk: Me as Him
There is a tale about Gavin Turk that always makes me smile. It has long been expected for art grads to push boundaries, to battle their way above the swarms of their peers, striving for their artistic individuality. For his final piece at the RCA, however, Turk took his allotted empty space, and with it he did bugger all. He left it a void, save that on one wall he placed a single, blue plaque, just like those that adorn countless buildings of note, baring the delightfully presumptuous inscription: "Gavin Turk worked here 1989-1991." His ploy failed; his degree was denied. But from this seeming failure Turk has managed to burn himself quite a name since, and almost entirely on the basis of this characteristic arrogance. Fame for its own sake. It is appropriate, then, that the titular Him of this Riflemaker exhibition, and the disguised subject of Turk's "Fright Wig" self-portraits is the god of artistic infamy and self-advertisement himself, Lord Warhol, raising rather tidy questions about artistic identity, authorship and, of course, Turk's right to such famous equality.

Simon Bill
Simon Bill paints eggs. Okay, so that's not entirely true. The 2001 Beck's Futures nominee actually paints large ovals, apparently because the lack of corners makes his job "dead easy". They are the shape of his self-imposed universe and, in his own words, the size of a fat man or, in a bout of increased professionally, the very history of portraiture itself. The abstracted subjects of his paintings vary from disease to golf, sometimes charmingly neurotic and always tinged with wit and humour. Returning from his temporary break, Bill's beautiful eggs are doing the circuit once more, and with their appearance at Stuart Shave's gallery in East London, the chance to catch his bright, intelligent and enlivening pieces should not be missed.