After the second world war Calder turned his attention to the production of vast stabiles to be placed in corporate lobbies and plazas all over the world. Made from sheet steel, bolted together and brightly painted, these works wrecked his critical reputation and bloated his bank balance. Around 100 of Calder’s early wire works and mobiles will be exhibited at Tate Modern next month. The Tate’s ever increasing investment in performance art, and in art that lends itself to audience interaction may explain its interest in this not-quite-stellar artist. Perhaps we’ll be reminded of Calder’s early subtlety and wit – of what the fuss was once about.