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“... pictures. The exhibition at the Hayward, fastidiously selected by Sylvester and his colleague Sarah Whitfield, who is also responsible for the illuminating catalogue, will move to America and then break up. Those of us who are obsessed by Magritte will wait, with keen anticipation, for the first volumes of the Menil Institute’s Catalogue ...”

“... about on very high heels like some bright-plumaged bird’. It is not that Hyman’s Bonnard or Sarah Whitfield’s essay in the Tate catalogue – both excellent, and usefully complementing each other – gives a very different account of the relationship from the one that limited anecdotal evidence had built up in the years since Bonnard’s death ...”

“... Biographies​ of artists often tie the art too directly to the life, as though dramatic experiences were iconographic keys that unlock the work once and for all. Early accounts of artists were modelled on the legends of heroes and saints, and even today they tend towards the epic in scope and hagiographic in tone. Magritte mostly avoids these traps; it is deeply researched, stylishly written and unusually insightful about its subject ...”

“... if everybody has access to the information designed to encrypt it? The answer, pioneered by Whitfield Diffie and Martin Hellman in the early 1970s, is to reject a principle of cryptography apparently so obvious as to go unchallenged until then: namely, that deciphering is the reverse of enciphering and that encryption and decryption keys are ...”