The Engine

JOHN BALDESSARI AT THE TATE MODERN  This exhibition represents a retrospective of the work of Italian-American conceptual artist John Baldessari (1931- ). Baldessari was interested in a whole series of developments in his own work, including (in chronological order) pop art (yes and isn't that somehow tautological, a terminological incongruence, pop and art being mutually exclusive opposites. Perhaps another name for pop art is American Imperialism, offering the harsh pill Empire within the framework of something that is or seems to be easy, accessible, groovy, happening, with it.), abstract expressionism, graphics, design, photography, performance art, film (the artist lived close to Hollywood), photo montage.  Is Baldessari's work heartless avante-garde flummery ultimately emboldened by his successful leaps into culture: does he re-tread the wearying cliches of post-modernism just one more time, encountering and becoming a vast, empty cul de sac? Or are his structurali

Maharajah: The Victoria and Albert Museum, South Kensington  This is an unbelievably impressive exhibition maintaining the usual high standard of events at the V & A. India was overwhelmed by stronger neighbours, then by Western Imperialists, seeking a colony that fitted with their nostrums, that might be strategically advantageous. Even today the current war is based really on Indo-Pakistan relations representing the Islamification of east and west India (now Pakistan and Bangladesh) first brought about by the Moghuls. The Moghuls, a nation that originated in Persia but actual descendants of the Timurids, hence their homeland Moghulistan (Mongolistan). The Moghuls were essentially militaristic, even more militaristic than the native Rajputs, who seemed to have lived by a kind of Zealot ethic, preferring suicide to dishonour. They were clearly a very powerful presence until their influence waned and the British came to establish the Raj, but the words we have of 'Indian'