Archive

Bruce Nauman’s audio art is a shocking noise, but it makes the Tate’s vast Turbine Hall feel almost intimate, says Waldemar Januszczak

With the angel of death as the warm-up act, the Hayward Gallery’s interactive journey into science and magic presses all the right buttons for Waldemar Januszczak

Waldemar Januszczak knows which of the Welsh siblings he prefers after seeing Tate Britain’s family feud

To many he was the greatest photojournalist of all time. But there was a hidden side to Henri Cartier-Bresson. Are these drawings, seen here for the first time, the reason why he hung up his camera for the last 30 years of his life?

Ladettes are playing it for laughs. Not all of it is on target, but there’s a lot to like about the Liverpool Biennial, says Waldemar Januszczak

What took the galleries so long to get it, asks Waldemar Januszczak

Sudan: Ancient Treasures reminds us what the British Museum is for, says Waldemar Januszczak — by showing how the past has led to the present

William Hodges turned the Pacific into an idealised Europe. If only he’d trusted his eyes, says Waldemar Januszczak

Gabriel Orozco once showed us the shape of things to come. The Serpentine’s show of his dull geometry marks him down as a square, says Waldemar Januszczak

Surrealism was born 200 years before its time in the glorious detail of still-life genius Luis Melendez. By Waldemar Januszczak