And in its dramatic Turbine Hall, the sense is that anything could be given house room if it deserved it — from Louise Bourgeois's
towers (I Do, I Undo, I Redo, 2000; her tremendous
steel spider had to wait outside) to Olafur Eliasson's The Weather Project in 2003 or Rachel Whiteread's Embankment (2005)-- heaped white
boxes, like sugar lumps for giants.