In a post-Duchamp world where anything goes, sh*tting in a box, scrunching up some paper, crawling on glass, or putting a shark in some jelly all seems a bit pointless and boring. If you want to create an artwork that's really shocking today, pick up a paintbrush.
Calder sees us and represents us struggling with gravity - the gravity of the body, of the world around us. We are all trying to fit into our days all the components that define us or often that we want to be defined by.
So, here's a question: what's weirder than Tilda Swinton napping in a glass box at New York's Museum of Modern Art?
Speaking at the Whitechapel Gallery last week Mel Bochner, big hitter of the US conceptual art movement, revealed a defining moment for his career in the mid-60s.
In 2010, the philosopher Roger Scruton, together with the BBC, made a documentary titled Why Beauty Matters, in which he gave an eloquent and impassioned plea for a return to the beautiful aesthetic, pointing towards the unifying and spiritually uplifting qualities of beauty.
At least in their early incarnation, these Russian artists prefigured Glasnost in their intelligent, open, creative critiques of the Soviet system. They went from being an underground in the 60s and early 70s to being the talk of Moscow by the late 70s - I guess that any observer with their finger really on the pulse at the time would have understood that if your cultural elite is enjoying art like this, then they really neither believe in it nor respect it anymore.