Winifred Knights, how is it that you have imbued even the Steinian pink-cut-pink segments of watermelon with suspense? The Marriage at Cana, 1923. A strange, unsettling and quietly dramatic scene - and a lesson in anthropomorphism. There’s something a bit rude and modern and maybe radical about the presence (colour?) of watermelon in this painting; the segments look almost as if they are poised to perform an act of subterfuge. I wish I’d written it.