It makes sense to exhibit this kind of art in one of Soho's more rebellious corners. The space chosen by Vermilion Hook lies beneath Marshall Street in the basement salon belonging to designer and tailor, Mark Powell.
The Turner Prize is important because it keeps the art world, the cultural scene awake. Yes. its atmosphere can be too full of art 'luvvies' and 'mavens' and the 'usual suspects' but they're easier to get rid of than the idea - and need - that art and culture matter. They do. They are what we are. What Laure Prouvost's installation entitled: 'Wantee' (punters put a sum total of £22 on her chances of winning, according to Ladbrokes ) demonstrates, too, is that big, bad Mighty London with its critics/punters/experts/buyers doesn't always get it right.
'The energy comes from the drawings. I look to entice a person into the picture, and direct their eye. William Hogarth is my hero. All his work possesses what he called the line of beauty,' he says, drawing a sweeping black 'S' shape upon the studio wall.
I remember clearly my first trip to New York City. I was seven and in awe of the skyscrapers and the sense of possibility. I remember too my uncle lying down on the floor to take a photo, which my younger, well-behaved self found shocking.
The art world, and particularly how we foster and develop it in Britain, is in a period of crisis. And if you haven't noticed that, then it's a worrying testament to the way we debate and celebrate the creative processes in this country.
Beijing is not the first place you'd think of finding Turner Prize-winner Susan Philipsz. But the artist, who usually creates works of sound sculpture from Celtic or Western pieces of music, is part of a new trend.
The winner of the 2011 Turner Prize will be announced on tonight live on Channel 4 but, at 27 years old, how is this annual art event still capable of causing outrage?