Photograph: Tate/ADAGP, Paris and DACS, London 2012
Adrian Searle says: 'Paint can be like mud or faeces and it can be delicate as make-up … I wish there were a bit more of it here, and a few more real performances'
Photograph: Courtesy of the artist and Mission Art Gallery Collection, Budapest
The artist shot holes in paint-filled balloons stuck to the canvas
Photograph: Tate/Estate of Niki de Saint Phalle
Adrian Searle says: 'In the end, a Pollock is as calculated as a Hockney, and the pairing feels like an irritating academic conceit' Photograph: Tate / Pollock - Krasner Foundation, Inc.
Adrian Searle says: 'A few photographs of Portuguese artist Helena Almeida walking between canvas stretchers, or overpainting her reflection in a mirror, give very little idea of her powerful performance works.' Photograph: Tate / courtesy Serralves Foundation Collection
Adrian Searle says: 'Kilimnik's stage set for Swan Lake adds very little to our understanding of the relationship she sets up between painting and a possible stage for action. Fake fog drifts, along with Tchaikovsky, through the gloom.' Photograph: David Levene
Adrian Searle says: 'Marc Camille Chaimowicz’s room-sized installation, loosely about Jean Cocteau … has the feeling of a whole world. Sadly, you can only stand on the brink, looking in.' Photograph: David Levene
Adrian Searle says: 'There are painted elements, along with a real kimono, wooden balls, a ladder, and a figure made of sticks with a mask for a head, but so what?' Photograph: David Levene
Adrian Searle says: 'The whole thing is an imaginary room, with walls, fake marbling … of a formerly elegant house, subdivided for multiple occupation. It's brilliantly done.' Photograph: Tate / Collection Charles Asprey
