ABSTRACT

From across the even green lawn of Kensington Gardens, London, I can see the Serpentine Gallery, a 1934 tea pavilion banked on either side by large French windows opening onto the clean-paved terrace that runs the perimeter of the building. Historically a place from which to view the landscape and to be seen in and by society, today, as a gallery of contemporary art, it is a site at which vision is regularly disassembled and reconstructed on other terms.1