‘Has the system caught up with me? Now loads of female artists are making work about abortion and painting about it,’ Emin told W magazine this year, and certainly her highly autobiographical work proved prescient. Her recent expressionistic paintings in blood red, invariably naked self-portraits, are as bold as anything made when Emin emerged at the forefront of the Young British Artists generation. These newer works were the subject of her solo show at the Yale Center for British Art, in New Haven, her first outing in a US museum, while another solo at Florence’s Fondazione Palazzo Strozzi also made room for the older hits (next year she’ll show at Tate Modern). She’s not just busy in her studio on England’s Kent coast, but hard at work from her ‘boffice’, her bed-turned-workspace, converting Margate’s former swimming baths into TKE Studios and Tracey Emin Artist Residency, each respectively hosting established and emerging artists, setting up a training kitchen and buying a 2,800sqm pavilion on the beach to host public facilities and more artist studios.