Gustave Courbet has a lot to answer for. The Painter’s Studio, 1855, his monumental autobiographical allegory, put the artist right at the center of the universe, and sanctioned the most extravagant kind of self-mythologization. Thirty-two-year-old Tracey Emin may seem a bit young to be opening her own museum, but that is precisely what she has done, having taken a five-year lease on a retail space near London’s Waterloo Station and turned it into a combination artist’s studio, gallery, and shop. The Tracey Emin Museum is open to the public only on Thursday and Friday afternoons, or by appointment,

For his recent show at Karsten Schubert, Mat Collishaw transformed the gallery by painting the walls a dark red and splitting the room in two with a wire fence, into a space reminiscent of a Victorian-era red-light district. On either side of the fence, Collishaw had installed separate pieces. Both evoked a sheer delight in spectacle reminiscent of the early days of motion pictures and of late-19th-century optical devices, while addressing the urban poverty that is as prevalent today as it was in Dickens’ age.

One of these two works, accompanied by a recording of jaunty accordion music, comprised