Tracey Emin’s A Second Life at the Tate Modern: beyond the YBA heyday, the artist sings anew

Her art, as conventionally unattractive as its content may be, is attractive for its lack of euphemism and varnish. If there’s a polite version available to Emin, she ignores it. A Second Life feels especially charged in 2026 – post the demolition of Roe v. Wade, amid the trad-wife phenomenon, alongside the rise of the far right and what it means for women, within the context of MAGA and the post Me Too era. Outside the 1990s, beyond the YBA heyday, Emin sings anew.

My Bed is still here,…