[for Frieze, 4/3/19]

The painting, then, is a picture of nature’s gradual work, itself formed by a gradual natural process. Paint is allowed both to tell and act out.

[for the Telegraph, 27/2/18]

Group exhibitions can be awkward. Those that fulfil a communal objective are rare; most fall back on a nebulous purpose.

[for the TLS, 19/2/19]

If you read enough of Logan’s takedowns, you glimpse an eerie Kennedy sparkle; they’re working so hard to seem off the cuff.

[for the Telegraph, 8/2/19]

For all the drama of Calvi’s style, her technique is masterfully controlled. She can finesse her way up a pealing arpeggio, then crown it with a pure single note that snaps and stings.

[for Frieze, 5/2/19]

He was never wrong, only cruel.

[for the Telegraph, 4/2/19]

To his detractors, Warhol has always been vacuous in some specially irritating way… To me, he seems dangerously honest.

[for the Telegraph, 25/1/19]

DAU didn’t open that evening, and it’s now been postponed again. I don’t know if it needs to open at all. Khrzhanovsky’s dream is an old one, and we’ve seen it happen before.

[for Frieze, 22/1/19]

The ‘Spreads’ can be seen as perpetual drafts, imaginary layouts with the luxury of never having to justify themselves to anyone else.

[for Artforum, 4/12/18]

This exhibition attests to the generosity of Matta-Clark’s practice; he treated the loss of space as a possibility, even a gift.

[for the Telegraph, 2/12/18]

As Camille Laurens says, ‘The sculpture provides no answer. Degas provides no answer.’ But not answering, in its way, is an answer too; it’s a refusal to simplify.

[for the Telegraph, 2/11/18]

Artes Mundi, the biennial £40,000 prize for international contemporary artists, believe deeply in the “human condition” … this is becoming a lesson in how helpful (or not) such earnest ideals can be.