George Osodi

I had another day at the Biennial and I've pretty much reversed my view. Nearly all the bits I didn't see on Thursday, but did today, are stunning. Haegue Yang in the Tate has created  a cool, bizarre garden type atmosphere on the ground floor. Kevin Beasley's Your Face is / is not enough which uses NATO-issued gas masks as part of a series of grotesque head-like sculptures. Brian Jungen's feather like sculptures carved from Nike trainers addresses a history of tension between the old and the modern.

The This is Shanghai exhibition in Cunard is absolutely top drawer. Strictly not part of the Biennial, but running alongside, it explores cultural differences and similarities with Liverpool's twin city.

And Open Eye has pulled a blinder with this exhibition by George Osodi. A series of portraits of Nigerian Kings and Queens. No longer invested with any power or constitutional significance other than ceremonial, these are portraits of a nevertheless proud group of people, afforded respect within their communities, but still battling the transition from a former colony into a modern nation. The pictures are superb in their own right, but the subject matter is absolutely fascinating.

It seems like on Thursday, I missed some of the best bits. There are still some misses and missed opportunities and there's not enough public art, but this Biennial is way better than I first thought.

I'm not sure the trout faced woman on the left agrees, though.