It is always very hard to appreciate the work of an artist at a crowded private view, let alone an artist whose work is so monumental and expressively mute as Rachel Whiteread. So, all I can say is what a good and brave thing it is that Tate Britain has cleared out the whole of Richard Llewelyn Davies’s 1979 north-east extension in order to be able to see an enormous range of Whiteread’s work in an open, clear space:-
| Charles | Saumarez | Smith | 
I recommend Rachel Whiteread’s “Cabin” on Governors Island, if you have the opportunity while in New York. Commissioned in 2015, installed last year, I went to see it again last weekend.
Yes, there was a very good piece about it by Simon Schama in the FT a couple of weeks ago. Charles
She is impressive. It’s good to see her greeting the appreciation she deserves.
Was it really such ‘a good and brave thing’ or merely modern(ist) hubris on a par with the privately-educated Labour Lord Llewelyn-Davies’s proposal to demolish the Tate’s classical portico…? (According to Lord Annan he defended the destruction of the Euston Arch with the immortal words: “It’s just a bit of vernacular.” )
That wing looks much better with a single artist,. or a group of related artists. Too often it is muddled