Drawing & Works on Paper

"The Texan is the third film-maker to be given a retrospective at the Design Museum, following Stanley Kubrick and Tim Burton, and this is the pick of the three. Cinema like this can feel incredibly extravagant — some canine puppets for Isle of Dogs took three years to make and were on screen for a matter of seconds. Here, though, you can spend time with it all."

"There are some lovely works of art here but I couldn\’t escape the thought that all of art and science are helpless before the mystery and beauty of a single living daisy."

"The rounded, white plaster objects are cut open to reveal deep blue interiors that seem immemorial, although Hepworth has simply painted them. Across the blue illusionistic depths, red-painted strings are tautly fixed. The red strings might suggest seaweed if, like me, you can't get nature out of your head looking at these abstract yet evocative works."

"Escher, this utterly traditional artist, makes you see that we walk a world we don't understand. We are his funny little people, going up and down the stairs, thinking we ascend or descend when we're on the flat, propping up our everyday lives with cosy assumptions to hide from the infinite, the impossible real."

"As an exhibition, it's a leaf through a scrapbook rather than a comprehensive survey. Summers run together, the days seem long and hazy, the irises are always in bloom. I left this evocative and convivial show craving ratatouille, resolving to plant irises and level the earth at the back of the garden for a greenhouse of my own."

"It's outer space, distant stars, planet Earth, the birds and bees and trees all right here, in this exact moment. It's a portrait of you in the universe, a picture of its vastness and your own little place in it."

"In parts of the show, Moore's love of natural forms seems to run counter to the Victorian splendour of Kew. One of his bone-like pieces, Three Piece Sculpture: Vertebrae (1968-69), sits in front of the Palm House. Moore's irregular, undulating tripartite form seems to echo – or mock – the pane-glass and wrought-iron symmetry of the older building."