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This morning’s Guardian hailed the fresh brilliance of the new Unilever Turbine Hall project at Tate Modern by Doris Salcedo. It shows “a laudable unwillingness to compromise, wanting to make a work about absolute indifference, and to address desolation and destitution…Shibboleth begins with a hairline crack in the concrete floor by the entrance. As insignificant as a flaw in a teacup, as telling as the build-up scenes of a disaster movie, the crack soon widens and deepens, a jagged crevasse making its jagged way the length of the Turbine Hall, 167 metres away, jabbing a fork of lightning and deepening as it goes. You can never quite see the bottom of it.