British Euro-skeptics take note! Although the UK’s traditional limp, naked lettuce is under siege by tasty foreign vinaigrette, and her lukewarm beers are losing ground to well-chilled Continental lagers, regional differences in the visual arts will not, I repeat not, be subject to European Community homogenization—and Rosemarie Trockel’s Whitechapel retrospective proves the point. In Germany, Trockel is feted; there, practically every contemporary collection, large and small, contains her work as standard issue. In England, however, her success has failed to translate.

“Rosemarie Trockel: Bodies

Born in I970, Zebedee Jones has been showing his chunky monochrome paintings on a regular basis in London since 1994, and in that time he has built up a devoted, if still small, following. His works are all made in a similar way, starting with deep, modestly scaled, square or rectangular stretchers. The paint is applied in a thick layer using a brush or palette knife that is then dragged across the surface horizontally or vertically, forming furrows of varying depth. (The edges of the support are left unpainted.) The process might sound formulaic, but variation occurs because Jones does not iron

Skyscrapers, British architecture critic Deyan Sudjic notes, are subject to the law of diminishing: creative returns: Extra stories make buildings taller, but they don’t generate any more aesthetic interest. Three unfeasibly large (twenty-two-foot-square) works in Julian Schnabel’s recent show seemed to suggest that the same is true of size in paintings; or, at least, paintings that attempt a unified composition—as opposed to, say, enormous Baroque blockbusters that are effectively aggregates of many separate incidents. Whether it’s twenty feet or two hundred, once a painting is too big to appear