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Farrago of multiple choice

Days Like These is only the second Tate Triennial Exhibition of Contemporary British Art, so the reader may be forgiven for not being altogether familiar with the set-up or its purpose. It’s intended as a kind of alternative or extension to the Turner Prize, offering a representative cross-section of contemporary art practice in the British

Decline and fall of the Hooray Henry

TWENTY-FIVE years on, Andrew Marr recollects the episode well but insists that it was all down to mistaken identity. They were after the Jews, he claims, and they got me as second best. Marr’s account is at any rate open to challenge. There was plenty about the future political editor of the BBC which a