In a Merseyside car park eight-year-old children are cheerfully debating surrealism in front of works from a national collection which include a Turner, a Barbara Hepworth and a photograph of Claude Cahun pretending to be a stone monolith.
There is also a beautiful 1918 John Nash landscape of a cornfield and Peter Kennard’s powerful photomontage of cruise missiles poking out of John Constable’s Haywain.
