Ian McEwan’s recent comic novel “Solar” includes, as a minor character, a conceptual artist whose latest work, constructed for Tate Modern, is a gargantuan Monopoly board with dice two metres high and houses that viewers can enter. The work—"an indictment, it was supposed, of a money-obsessed culture"—is a media sensation. What’s less clear is whether it’s good art.
Emily Eakins discussing the aesthetic and technical challenges of creating art work for the Tate Modern’s Turbine Hall commission, in the New Yorker of October 31, 2011.