Rachel Whiteread is famed for her use of casting to physically represent memory and absence. The progress of creating her vast sculpture for Tate Modern's Turbine Hall is followed here, featuring dramatic installation photography.
"'To make a sculpture in the Turbine Hall at Tate Modern is an enormous challenge. The space is like no other - gargantuan and enveloping. I hope to challenge the space by developing a degree of intimacy, which somehow relates to all our lives.' - Rachel Whiteread"

Yvonne Rainer has, since the early 1960s, forged a choreographic language that carries everyday gesture, task-based structures, and serial procedures onto the stage.

In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form.