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
Visually seductive, responsibly researched, culturally portable and diplomatic, In Minor Keys is a protest conducted with fine-print slogans and no concrete demands
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
