Museum shows don’t often evoke a sense of smell, but without even trying, this Ballets Russes exhibition has visitors’ nostrils flared. The show is – intentionally – a feast for the eye, and even for the ear, with ballet scores (sometimes rudely overlapping) playing in every room. But smell?

Anthony Caro makes works with the human figure in mind. The venerated sculptor, who, at 86, remains seemingly unstoppable, came to prominence in the early Sixties with his brightly coloured abstract steel sculptures. These, such as his seminal 1962 work, Early One Morning – an open-form sculpture of welded steel plates and delicately balancing rods painted in bright red – chimed with an era of optimism and confidence. Any figurative references were entirely incidental.

Modernist art movements are a lot like totalitarian regimes. They produce their declaratory manifestos, send forth their declamatory edicts, and, before you know it, a Year Zero mentality prevails: the past must be declared null and void. Seeking to overturn 1,000 years of Western civilisation with a universal aesthetic utopia of brightly coloured squares and boldly delineated lines, a confident Theo van Doesburg, founding member and chief theorist of the Dutch movement De Stijl, wrote, “What the Cross represented to the early Christians, the square represents to us all.