Installation of 13 paintings of rhesus macaque monkeys in a large walnut-panelled room designed by architect David Adjaye. The room is approached through a dimly-lit corrridor, which is designed to give a sense of anticipation. Each painting depicts a monkey based around a different colour theme (grey, red, white etc.). The twelve smaller paintings show a monkey from the side and they are based on a 1957 Andy Warhol drawing. The larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room. The room is designed to create an impressive and contemplative atmosphere. The paintings each rest on two round lumps of elephant dung, treated and coated in resin. There is also a lump of the dung on each painting. Strictly speaking, each work is mixed media, comprising paint, resin, glitter, mapping pins and elephant dung. The Upper Room as a whole is described by the Tate (which bought the piece in 2005) as an "installation". The Upper Room is a reference to the Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race.

Every inch of Grayson's childhood bedroom was covered with pictures of aeroplanes, and every surface with models. In 2003, an acclaimed ceramic artist, he accepted the Turner Prize as his alter-ego Clare, wearing his best dress, with a bow in his hair. In this book, he tells his story.

Secundino Hernández (b. 1975, Madrid) is one of most dynamic painters of his generation, celebrated for his spirited enquiry into the language, history and enduring potential of his medium. For this body of work, created in Venice earlier this year, the artist focuses on the human form.The paintings - some no bigger than a hand's width - condense Hernández's signature approach to material and process, alighting on the classical subject of the female nude while introducing a host of additional referents.Among these is the city of Venice, which has been a context and a source of inspiration, its presence felt in the tones and surfaces of the works on view.Featuring a new text by the author, screenwriter and director Ray Lorgia.Published on the occasion of the exhibition, Secundino Hernández: Grapado a la piel at Victoria Miro, Venice (13 September- 19 October 2019) which presents small-scale figurative paintings created in the Venice studio by the acclaimed Spanish artist.English and Spanish text.

One of the most original voices in contemporary Brazilian art, Varejeo's diverse practice comprises painting, sculpture, photography and installation. Her sources are many, encompassing baroque art history, architectural, natural, sciences and theatre. 00Exhibition: Victoria Miro Gallery, London, UK (2013).