(Edited highlights of the panel's review)

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WILLIAM FEAVER:
This is struggling to get the critical mass you need to make something more than just a one-off event and make it a regular fixture.

It has got a lot to be said for it, but I have to say, when I started off in Tate Liverpool, I went into one after another black box and saw a video of the sea in rather grainy close-up, going forward and going backwards, and roar like a hundred motorbikes behind me, I thought I�d been there before, and did Liverpool really deserve to have it, poor Liverpool.

But then as my day went by, it got better and better, and by the time I got to Paradise Street, the installations of signs that mock real signs up-ended cars, curiously nowadays in installation art you have to have a curious entrance, break a hole in the wall or break a bottom of a truck to get in the building. By the time I got to this I felt very much better, very cheerful, and basically Liverpool should enjoy a good deal of this, and it does Liverpool good, and the more independence the better and the one in 2004 I look forward to.

TIM LOTT:
I had a wonderful day there. It was one of the most enjoyable days I have spent.I hardly saw anything I didn't enjoy.

The things that stuck in my mind particularly were two pieces. One was fairly obvious and what at first glance seemed uninteresting photographs of this woman who was in these different contexts. I didn't grasp at first that this woman takes on the identities of old people, of young black women, of skateboarders, of Japanese schoolgirls, and becomes them for months on end and photographs the end result. I thought that was fascinating. The idea of absorbing completely new identities a as a lifestyle. I have not seen that before. It was extraordinary to me.

The other thing that stuck in my mind was Olaf Breuning's Hello Darkness, which was gothic and bizarre, and involved an axe-wielding sex doll and a coffin, which was diverting enough to begin with. But walking in, it was a remarkable recreation of a near-death experience. It had this amazing light that, if you stared at it long enough, you were back in the '70s. I was approaching the light and seeing God I felt.

I had a great time. It's great community art.

MARK LAWSON:
The big question is how you use the city. I went to see the Queen Victoria bedroom, which is a remarkable thing. However, the taxi driver who took me there said, "You don't want to go there because it's boarded up." I said, "It's an art work." He didn't believe me. No-one believes you. Another one was the car that is the entrance. He thought someone had had an accident. It's like the crop circles, nobody knows what's going on in the town.

BONNIE GREER:
I love Liverpool. It's wonderful to go round the city, to see it revitalise itself in that kind of way, and to also see the city remade. You look at the city again when you see these art pieces. You look at things that you think are familiar, and they become different.

For instance, at the school, there was Robert Wogan's piece. He made a maze that duplicated his experience of going inside of a ship in wet dock. You go through this incredible maze and at the end you get a video of his experience.

This transcript was produced from the teletext subtitles that are generated live for Newsnight. It has been checked against the programme as broadcast, however Newsnight can accept no responsibility for any factual inaccuracies. We will be happy to correct serious errors.