Bespoke forms of industrial design, graphics and film have recently moved into the traditional preserves of art. From different perspectives, the panel considers: What cultural value do these forms bring to the spaces of the gallery and the museum?

Artist, writer, architect, educator, ecologist and radical gardener, Fritz Haeg draws together his diverse expertise in a lecture about the potential conflicting roles for today's artist in a fractured society: from populist projects, to insular bohemia, activist art, to passive entertainment, networked and broadcast communication to social strategies of isolation.

Adrian Searle of The Guardian asks a panel of directors and curators from four global institutions with ambitious new buildings about how museums can change the social and cultural landscapes around them.

• Adrian Searle (The Guardian)
• Maria Balshaw (Whitworth Art Gallery, Manchester)
• Anton Belov (Garage Museum of Contemporary Art, Moscow)
• Tobias Berger (Central Police Station, Hong Kong)
• Donna De Salvo (Whitney Museum of American Art, New York)

For his commission for Frieze Projects, artist Vallance presented a panel discussion featuring five mediums each channeling the spirits of famous artists such as Marcel Duchamp, Vincent van Gogh, Frida Kahlo, Jackson Pollock and Leonardo da Vinci.The artists were asked questions on the role of art in the afterworld, and their opinions on the art market in the living world. The panel will open to audience questions at the end of the discussion.

Is it really elitist, confusing and irrelevant?

Is it really peddled by unskilled charlatans conning the general public?

Will poor artists really be more inventive and radical because they are not corrupted by the market?

Turner Prize-nominated Roger Hiorns, 2010 Berlin Biennal curator Kathrin Rhomberg and The Guardian's Adrian Searle consider three of the most common criticisms and truisms leveled at contemporary art, in a panel chaired by Tom Morton.

Fashion designer and activist Vivienne Westwood speaks about the changing relationship between art and her practice, from her early designs to the surprising influence of children’s art on her work, to her commitment to environmental and social activism.

At Westwood’s request, her speaking fee is being donated to the charity Cool Earth.

• Vivienne Westwood (designer & activist)

American photographer Catherine Opie, who produces photographs that both embrace and challenge the conventional genres of art history, in conversation with Michael Govan.

Catherine Opie (b.1961, lives and works in Los Angeles) produces photographs that both embrace and challenge the conventional genres of art history, such as landscapes and portraits. Her work has been exhibited extensively throughout the United States, Europe and Japan. Recent exhibitions include the Walker Art Center, Minneapolis; The Saint Louis Art Museum; the Photographers' Gallery, London; The Museum of Contemporary Art, Los Angeles and the Institute of Contemporary Art, Boston. Opie is the 2013 recipient of the Julius Shulman Excellence in Photography Award and she is currently a professor of photography at UCLA.

Michael Govan has been the CEO and Wallis Annenberg Director of the Los Angeles County Museum of Art since 2006. He was previously President and Director of the DIA Art Foundation, based in New York.

Chaired by writer and editor Alexander Provan of the online publication Triple Canopy, this panel explores explore how artists' collectives today are learning from or deviating from previous historical collectives, such as General Idea, Group Material or Art&Language.  Members from three, exciting and diverse contemporary collectives look at how artists' collectives today are enacting local and national politics, and how some of them are using techniques of branding and marketing to define their practices.

Writer, curator and philosopher Boris Groys delivers a stimulating lecture on the enshrined place of design in culture today.

Focussing on its role as a leading medium of self-revelation and self-positioning in public space, Groys argues design a new ethical dimension, contending that where there was once religion, there is now design.

Unlike politics and writing, art can hold in suspension different, even conflicting ideas, feelings and histories, without forcing us to choose between them. This capacity for incommensurability allows for experiences not socially recognised - as yet not named.

Writer, editor and academic Katy Siegel argues for painting as the most exciting form of this incommensurability - where abstraction and representation intersect and interfere with each other.  What is this secret history of modern painting, and why has rigid art criticism so long obscured it?