The Rauschenberg show at the Tate Modern can look, to the untrained eye, dated, with the faded-sepia colouring of its stuffed-goat Monogram; clown-bucket sploshes of paint; the aged, shanty-town feel to his inventory of found objects, arte-povera cardboards and road signage. Rauschenberg moved on as soon as he got a chance – he won the Venice Biennale painting prize (1964) for his radiant silkscreen collages, and immediately ordered his remaining works in that genre to be destroyed, moving promptly towards hi-tech art "happenings".