Abstract
No such thing as bad publicity, the adage goes. Brett Bailey must be wondering about that. It takes a great deal to make a scandal in the world-weary, seen-it-all-before environment of the London arts scene, but the South African artist managed it. Days before his retooled, stripped-to-the-minimum version of Verdi's Macbeth opened for a brief run at the Barbican, a companion work by Bailey found itself the object of unwelcome scrutiny.
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