“It’s always puzzling to visit the homes of extremely sophisticated contemporary artists (or collectors), and discover that their taste in music consists of uninformed wank,” wrote Neel Brown in Frieze in 1998. He was reviewing Blizzard Seventy-Seven, Peter Doig’s first institutional survey at London’s Whitechapel Gallery, for which curator Matthew Higgs had appended a catalogue of the artist’s record collection for the show’shellip;

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