Tate Modern’s summer blockbuster exhibition, in collaboration with Uniqlo, is drawing to a close. You have a week left to make your way to the Turbine Hall where Murillo has installed a giant painting garden – inviting the public to contribute by picking up a paintbrush and letting loose on an epic-sized canvas. When the canvases are complete, they’ll be shown on scaffolding in the Turbine Hall. A programme of performances in the Turbine Hall continues at 3pm every day.

Inspired by Claude Monet’s paintings of his flower garden in Giverny, France, The flooded garden also continues the Colombian-born artist’s series Surge – some of which are on display simultaneously in the South Tank, with their distinctive wave-like brushwork and looping lines in oil paint, in trademark arresting hues of bright yellow, pink and blue.

It’s not the first time Murillo has transformed the art gallery into an active, public artwork: his first solo exhibition at David Zwirner’s New York gallery in 2014 saw Murillo turn the space into a fully functioning chocolate factory – a homage to the factories in Colombia where generations of families were employed.

The four women at the centre of the Garden Museum’s current exhibition need little introduction: Virginia Woolf, Vanessa Bell, Lady Ottoline Morrell and Vita Sackville-West were all remarkable contributors to the Bloomsbury Group. Yet while the famous adage of Woolf’s expounded the importance of a room of one’s own – less familiar is the relationship these women had with their carefully cultivated gardens.

Gardening Bohemia: Bloomsbury Women Outdoors, curated by Dr Claudia Tobin, takes you from Virgina Woolf’s garden at Monk’s House, to her sister, artist Vanessa Bell’s garden and studio at Charleston, patron and photographer Lady Ottoline Morrell’s outdoor space at Garsington Manor and garden designer and writer Vita Sackville-West’s gardens at Sissinghurst Castle.

Through photographs, paintings, textiles, letters – and even garden tools – this glorious show reveals how important these gardens were to the lives and creativity of each woman, places of personal sanctuary and reprieve, as well as to experiment and nuture – often against a backdrop of politcal and personal turbulence.