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“... Meret Oppenheim​ ’s Ma Gouvernante, a pair of white leather pumps trussed up like a Sunday roast and served on a silver platter, is an allegory of other-womanhood. In 1933, three years before she exhibited Ma Gouvernante at her first solo show, Oppenheim began an affair with Max Ernst ...”

“... to speak of a patch at all – a sneaking admiration for Joseph Beuys, a distinct penchant for Meret Oppenheim. Sewell is by no means ‘encamped’. His savagings know no distinction of genre, though savagings do predominate here. I don’t think there’s much he doesn’t understand: I can imagine him, in a locked room, at gunpoint, writing ...”

“... flavoured mixture of pagan-Judaeo-Christian-Freudian symbols. By contrast, the Jungian ambience of Meret Oppenheim’s native Zurich provided the impulse for her works expressing her lot as a woman: such marvellous, mischievous pieces as the famous fur cup and saucer (Petit déjeuner en fourrure) and the dish of white stiletto shoes upended to become ...”