‘I was 13, with a group of friends, and it was my first time hearing anything so Black and British – and, also, so working class’

By Kadish Morris

‘I felt as though I’d walked in on what the future of art-making could be: a curation of time and space between us and the world in which we exist’

By Rirkrit Tiravanija

‘Enthusiasm leaks out from the possibility of how these things might all be together’

By Adam Chodzko

‘Your songs are always full of colour and samples, beats and melodies, dizzying rhythms and more melodies still’

By Sukhdev Sandhu

‘A convenient metaphor for emptiness and desolation, the desert is the paradigmatic nowhere’

By Venus Lau

‘Hong allows revelations to emerge from the most unassuming descriptions of facts’

By Carol Yinghua Lu

‘With Brexit hanging like a lead weight above the city’s new forest of glass towers, the memory of the Horse Hospital’s stone floor feels grounding’

By Stuart Comer

‘He created rhythmic patterns that sounded, in your mind or on his voice, both adamantine and feline at once’

By Cal Revely-Calder

‘I took his reviews in the Independent to be the baseline; what all art criticism looked like’

By Tim Smith-Laing

‘Majerus was driven by mass – calm and heavy like a smooth car – six cylinder bicycle with no flat tyre’

By Thomas Bayrle
Jeff McMillan, The Possibility of an Island, 2009, found paintings (detail). Courtesy: the artist and Peer, London. 

‘In this false universe of positive gloss and shallow passions, where can a real enthusiasm be located?’

By Darian Leader
Cover of Dot Dot Dot #9, 2005

‘The salient factor wasn’t ever its printedness; Dot Dot Dot just took its own form seriously to think about things we see and how’

By Pablo Larios