Andrea Rose: The great advantage of the Venice Biennale is that it is a platform to promote artists onto a bigger stage and I felt, and the committee felt that Tracey was at a stage in her own career where she was beginning to separate from the group of artists who came to prominence in the 1990s. The exhibition itself takes a very consistent line; we have got no video and no photography so the emphasis is very much on the handmade and the hand drawn. Actually one of Tracey’s, I think, great virtues is this extraordinary intimacy and delicacy. Louisa Buck: I think Tracey has risen very well to the occasion. It’s very calm, it’s very beautiful. I particularly like the neon’s at the front. I think seeing the bird on the front and the neon of the pavilion, it looks very lovely and there is this big pink room at the back. It’s a kind of hot pink room with her neon text pieces that fill the whole space with a kind of rather anxious making light, so she has done well. Andrew Graham-Dixon: I was quite surprised by how quiet it is as an exhibition. It strikes me as rather sort of classic in a way, it’s Tracy Emin being a proper grown up artist. I am not sure if I prefer it like that. To me a lot of the work feels like work that I have seen by other artists and I think maybe that’s a sign of confidence that she doesn’t mind displaying her influences. I can see lots of Egon Sheiler, I can see a little bit of Byzantine art, and I can see quite a lot of Tombly, especially in the paintings. Peter Blake: Very beautiful show, I won’t say I am surprised because I know how good Tracy is but I am surprised by the volume of it and I love the 1990 series of watercolours. I think they are absolutely beautiful. I am here as a fan and a friend and I think it’s an amazing show. David Dibosa: Tracy has provided here something that I think she has done before, where she used to demonstrate that she can be subtle and intimate and gentle in her work. It’s something that she works very hard at and something that we do see here. Andrea Rose: It seems to be her who is exposing herself but truthfully I think when you look at these things it’s us who feel rather vulnerable or made vulnerable and that is her great artistry that she appears to be in the confessional pose but we actually end up feeling exposed. Louisa Buck: She is a celebrity in her own right. Her art is about her persona. It’s about herself. It’s a form of self portraiture really and in our age of celebrity and confessional and reality television, artists who use their own life and their own experiences as subject matter are notably going to play with and off that kind of state of things. So yes I mean her celebrity status is enormous but you know she is a real artist as well. Tracey Emin: I hope in forty years time when I come here, when I am a little old lady and I come up the steps, I will still be remembering my show and still thinking it was good.