Damien Hirst, The Acquired Inability to Escape, 1991. Glass, steel, silicone rubber, Formica, MDF, chair, ashtray, lighter, and cigarettes, 2.13 x 3.05 x 2.13 meters.

Damien Hirst


Tate Modern

When I walked into Tate Modern for Damien Hirst’s retrospective, I was very positive and full of expectations, but I left with contradictory thoughts—not about Hirst’s work per se, but about the value of an anthological exhibition devoted to his work. In his sculptures and paintings, Hirst achieves high formal perfection, a special kind of beauty that represents the most important experience of life—death… see the entire review in the print version of July/August’s Sculpture magazine.