Plenty of room for Tracey Emin who expands like floodwaters through the environs of the White Cube Bermondsay, filling the void with sculpture, neon, paintings, film, photography and drawings which stun viewers with their emotional charge. The artist’s body is often her subject of choice, with alternating tones of dark red and pink alluding to the inexorable journey between birth and death. A body that acts as a measure of the anxieties, the anger and the desperation connected to the simple fact of existing, the trauma of her first abortion in 1990, to the prickly subject of sexual relations, to the recent passing of her mother. Emin turns an eye towards the past and opens a channel of communication with the art of the 1900s, dabbling in the expressive figurative art and realism of Käthe Kollwitz, dialoging with the angst of Edvard Munch and going back to Egon Schiele in the articulation of the sexuality of women. The itinerary begins with 50 amazing self-portraits in the South Gallery I - the disturbing and intimate close-ups that capture the torment of the artist’s long hours of insomnia. The exhibition ends with four thematic displays that contains Emin’s most intimate universe with works on paper, maquette and keepsakes from her archives, based on the themes of love, sex, death and fear.