![]() ![]() So far more than 1,000 children have played with the display every day. “I’ve done my job and now people can come and make their own work,” he had said at the launch a day earlier. Araeen was visibly happy that the display of 400 brightly coloured lattice-construction cubes were giving so much constructive pleasure to more than 100 children and a few adults – with more queuing to get access to the floor. We were watching from a gallery above the Turbine Hall floor. ![]() Age 88, Araeen told me he had never seen anything like it before, even though the minimalist display, Zero to Infinity, has been through many incarnations since he first created it in 1968. That is what happened to Rasheed Araeen, a controversial veteran British artist of Pakistani origin, in the vast Turbine Hall of London’s Tate Modern last weekend. It can’t often happen that an artist watches with pleasure while his work is dismantled by hordes of children who then form their own versions of what he or she has carefully designed as an ordered and meaningful display.
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