Tracey Emin is in the news. Her “shocking” installation entitled “My Bed” from 1998 is on display at Tate Modern for the first time after fifteen years. It was bought last year at an auction at Christie’s by the German businessman and collector Count Christian Dürckheim for a bit more than two-million and a half pounds sterling. Now fifty-one, Emin describes her “masterpiece” as a “portrait of a young woman.” Dürckheim sees it as a “metaphor for life.” The curator of Tate show, Elena Crippa, wanted to “contextualize” Emin’s work as “part of seven-hundred years of British art,” which is why it is displayed along other works in the permanent collection. A painting by Francis Bacon is thus right next to the messy bed. And so on, and so forth. The first thing that crosses my mind after reading about Emin’s last triumph is that her art is perfectly safe from the Islamic State of Iraq and Syria. Its fighters would never even recognize it as a work of art in the first place. “My bed,” many of them would think before plunging in it for a quick nap.