Andy Warhol looks a scream, hanging on the wall – six images of him being ‘strangled’. It’s his last day at the De La Warr Pavilion. We’ve seen these screenprints so many times: Mao, Marilyn, Andy… and we know the iconography. Warhol images: postcards, printed, cheap, disposable, ubiquitous. But the originals are powerful objects. The surfaces are real: luscious thick layers of ink on impasto-acrylic’d paper, big brushstrokes, throwaway squiggles. 10 Mao’s in different colourways – the murderous dictator benign and funny in rich unlikely colours. A gorgeous wall of electric chair prints: image of horror, beautiful colour.

Towner Gallery: In the middle of the huge room, there is a house. A full-size trapper’s cabin, come in from the hostile snowy landscape. Its bleached wood is almost colourless, but it’s actually not wood at all: it’s paper, photocopies tiled together over a hardboard frame – trompe-l’oeil from a few feet away. I had to feel it to find out. Inside (of course) there’s a rowing boat, and you get in, start rowing, across the lake on the big screen in front of you. As you pull on the oars, you are actually rowing the landscape around you, monochrome and bleak, sharp black fir trees – the wintry Canadian Rockies, uninhabited, menacing. You laugh, or say something to those waiting their turn. But if you were alone in here…

On the way home, a huge sun shines through low soft clouds, throwing the Downs into layers of cut-out blue.

‘The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.’ (Proust)

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