KIRSTY WARK:
Judith Nesbitt, who along with John Watkins has curated that show. What did you think Natasha?

NATASHA WALKER:
There were lots of things I liked about it.

For me, the works that stood out, for me, are by an artist I have never seen before, and often works, not trying to make big gestures, but had a deceptive quietness and gentleness.

For instance, Margaret Barron does tiny pictures, completely unannounced. There is one as you come out of the gallery, stuck on to a lamp post, which shows a scene across the road.

It has vulnerability but it's also very powerful. It has this great power. I found it incredibly compelling.

Some of the video works as well.

Days Like These, the video that gave the exhibition its title, is simple but with a haunting quality.

It looks like something that you remember yourself. It has a quality as though something you have looked at in childhood or seen yourself. It has this very haunting quality.

KIRSTY WARK:
James?

JAMES BROWN:
I thought there was some great stuff and some terrible stuff.

Like a lot of men, I am still hopelessly trapped in my teenage years. I liked George Shaw's paintings of garages and suburban woods. I spent most of my teenage years kicking footballs against garage doors. You could hear the ball on the metal.

There was so much colour as well. Tim Head's enormous moving screen was impressive. Also, the whole of the gallery covered in vinyl tape, it looked like you were trapped inside a Paul Smith bag.

Again, Margaret Barron's little oil paintings that she had put on gaffer tape. I didn't get to see them because it was chucking it down, and it went out of my mind, but when you were looking at it in the brochure, I thought that was great.

It brings a whole new concept of art theft, when someone comes along and just rips it off. Is it worth anything? If it is, I will go back tonight and have one of them!

It was interesting that you put the art in miniature, in public, not even in the art gallery, in front of the view that you have painted.

KIRSTY WARK:
What didn't you like?

JAMES BROWN:
If you go to an art gallery, I don't think you should just watch television. A lot of it, you go into dark rooms, video clips of just like a bad satellite channel.

I am sorry if you liked them, but it was like there was a beautiful painting of a wood just in black oil paint and it was amazing and in the next room. There was just some woman wandering around her house all day. It was just like...

NATASHA WALKER:
Do you mean the woman...

JAMES BROWN:
The Four Seasons.

KIRSTY WARK:
The Four Seasons of Veronica Reed. You speak for that because that is about this woman who loves amaryllis.

ROSIE BOYCOTT:
Not just loves amaryllis, they are her children. She talks about having 700 who at one point die because of the dust mites in her house.

She persuades her mother to drive 200 miles to Tring to have her pots sterilised in the only place in the country where this can happen.

You are in this queue, effectively, and you can walk in and out of it.

It's very beautiful at points because it has these lovely flowers, but you have this woman who is protecting them. She is cleaning them, taking out all the bits that might have dust mites.

JAMES BROWN:
I haven't got a year to look at a woman messing around with plants.

ROSIE BOYCOTT:
You don't need a year. I stayed in for ten minutes and came out fascinated by her. Whether it is art or not, I thought overall as an exhibition, it was immensely hotchpotch.

I thought it was incredibly unpolitical. Art seems to have lost its sense of trying to make big statements, apart from Lockerbie.

KIRSTY WARK:
What about the statement of Cornelia Parker with Rodin's The Kiss?

NATASHA WALKER:
I thought that was moving. The Rodin sculpture is very physical. This seemed to be suggesting something about the emotional entanglement. It's about being wrapped up, tied up, entangled.

KIRSTY WARK:
I thought she changed the whole nature of the statue.

NATASHA WALKER:
That was one of the great things, the way it played on the space of the Tate itself. And the sound pieces in the entrance.

ROSIE BOYCOTT:
I thought that was just a real cheap shot. I thought, "I could have done that. I could have asked if I could borrow that."

NATASHA WALKER:
Yeah you could have done that but you didn't.

ROSIE BOYCOTT:
I didn't do it, but it seemed to me it destroyed something that was really very beautiful.

KIRSTY WARK:
Was it because she was using what Duchamp had done, which was take a mile of string and wind it round exhibits at a previous exhibition?

ROSIE BOYCOTT:
She is using someone else's sculpture and someone else's idea.

NATASHA WALKER:
But to make something new out of it.