'She sees temporality exchanged for topography – nothing is un-erasable.'

'Art is Dangerous' - Duke Ellington.

Of Attention Spans and Sacrificial Lambs

Phoebe Boswell at Autograph Gallery

"Stick around for long enough and be visited by the noonday demon."

 

Azania at Somerset House.

Martin Creed's Toast at Hauser & Wirth

Fiona Tan at Frith Street

Modern Couples: Art, Intimacy and the Avant Garde at Barbican.

"An encyclopaedic excavation of mankind’s origins."

"Adolescence is like adulthood with the volume turned right up."

"Who can define when pleasure becomes reliance and when reliance plummets into full-blown addiction?"

On 'the first work of art ever created at auction’, Banksy's Love is in the Bin.

"It feels like iconoclasm, and idolatry at the same time."

Jordan Wolfson's Real Violence at Zabludowicz Collection

Space Shifters at Hayward Gallery

"Check your watch – you’re in a film!"

The Citi Exhibition I Object: Ian Hislop's search for dissent at the British Museum

"Society has withdrawn its contract from these young people, can they now be expected to live by its rules?"

On gender parity at Sculpture in the City 2018

"‘What we are’ is the essential query, raised again and again throughout Lee Bul’s Crashing. Are we our bodies? Are we our gender? Are we where we come from? Are we, perhaps, just a collection of organic materials?"

'It’s not really a question of “do I want to?" or, "could I?”. I do it because I just can’t help myself.'

"We’re borrowing from a visual language more akin to theatre than film."

Interview with Gillian Wearing ahead of the unveiling of her 'Millicent Fawcett' statue in Parliament Square, April 2018

Details on Plinth's date-syrup pop-up, celebrating Michael Rakowitz's Fourth Plinth Commission.

Interview with Michael Rakowitz ahead of his Fourth Plinth Commission, March 28th

"Dispense with every backdrop, every symbolic lamb, every ripple of fabric, patron, person."

Eddie Peake's 'Concrete Pitch' at White Cube, Bermondsey.