Every now and then an example of Botero’s Michelin Men figures, with their satirical charm and old-master nods, makes you realize why people take the artist seriously. But a retrospective could be his undoing. David Elliott crowns his career at the Moderna Museet with just such a show before moving on to a new gig in Japan. Doubtless the political content of the Colombian’s work provides the appeal for Elliott, and among the painting and sculpture of the ’50s and ’60s there may be some substantial surprises, especially from the early years, before the fat really set in. The catalogue features texts by Elliott and Mario Vargas Llosa.

— Richard Shone