Critics love it and hate it by turn. Contemporary art, that is. The only time it is likely to be presented to the masses is when it hits the news pages of the dailies – in its most obscure form, like the recent Turner Prize winning piece – immersed in controversy. The positive reviews are hidden in the depths of the arts sections, buried somewhere between news and sport.
This perhaps explains why the Liverpool Biennial has garnered less column space than the recent Turner Prize winner: people actually like the art there.
