One of the joys of a retrospective is finding artworks that were never destined for the spotlight, instead remaining buried in the archive. On view at Tate Britain’s new Lee Miller exhibition is a pair of near-identical photographs, each no bigger than an iPod Nano, depicting a severed breast laid out on a plate, flanked by a knife and fork. They were dated from around 1930, when a young Miller had been working as Manhellip;

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