Criticism has died at London’s newspaper

Every six months or so opera surfaces from its undersea lair, like a Bond villain, to enter public consciousness — generally when it’s been naughty.

The older the work, the harder it is to be sure what it is or who it’s by. So how do the experts decide?

Michael Prodger meets the defiantly independent duo who back Brexit and resent the hostility of the art establishment towards them

Durham’s concrete masterpiece needs love, not the wrecking ball