When I visited Frieze Sculpture, it had not yet been fully installed, but already its public impact was evident.

A child rushed up to a Tracey Emin reclining figure. Another ducked under the bell skirt of Leiko Ikemura’s standing hybrid figure, with a woman’s face and rabbit ears. An elderly couple perused the panel alongside an enigmatic Bill Woodrow cello encrusted in gold-leafed bees, thinking aloud, trying to fathom its mysteries. A woman looked bamboozled amid Robert Indiana’s circular ONE through ZERO, a numerological steel Stonehenge.