For an artist who treated the material status of his works with striking nonchalance, Duchamp in his afterlife seems rather preoccupied with asserting control over the material world
The erratic management of art history in the Met’s latest exhibition is harmless compared to its quasi-taxonomic classification of humans, writes Jenny Wu
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
