A Bigger Splash: Painting After Performance

New Statesman“Too often fails to dive beneath the surface...” The range of responses shown to the objectification of women and exclusion of gender variant and queer perspectives by the Fifties and Sixties performance painters is the exhibition’s most captivating feature...

The Independent“All about the artist being part of the action...” As it is we have a fractured show with a ponderously theoretical theme and very little sense of context. There are ideas here, plenty of them, but not much cohesion...

Guardian“Where's the jolt of confrontation, our desires or repulsion as viewers?” The show's final space, by Lucy McKenzie, is rather beautiful. Are these paintings or a stage set? The whole thing is an imaginary room, with walls, fake marbling, trompe l'oeil radiators, a phone on the wall, the scuffs and stains...

The Telegraph“You too will find yourself grinning from ear to ear...” For six galleries, all this makes for a fascinating, messy, all inclusive and by and large entertaining show. But when you step into gallery seven you may well wonder, as I did, whether you’d strayed into a completely different exhibition..