14 May 2010
Last updated at 16:52
The Unilever series of annual commissions in the Tate Modern Turbine Hall started in 2000 with work by French-born artist Louise Bourgeois. The then 89-year-old artist unveiled her infamous giant spider Maman, which she later donated to the gallery.
In 2001, the Spanish artist Juan Munoz dramatically remodelled the Turbine Hall by creating two worlds for his work Double Bind. It featured mysterious sculptured grey figures at work, as two lifts perpetually ascended and descended through the space.
Marsyas, Anish Kapoor's 2002 sculpture, comprised of three steel rings joined by a single span of PVC membrane to resemble a giant trumpet spanning the length of the space. The title refers to a satyr in Greek mythology who was flayed alive by Apollo.
Olafur Eliasson created a giant sun using mirrors, light and mist for The Weather Project, which he said was the basis for exploring ideas about experience and mediation. Within two months the installation had attracted more than one million visitors.
Bruce Nauman's Raw Materials was the first sound installation in the Unilever series and featured 22 spoken texts taken from existing works, such as jokes, poems and statements, to create an abstract "aural collage" in the cavernous space.
Rachel Whiteread arranged 14,000 white boxes for her installation Embankment. The Turner Prize-winning sculptor said her work explored the "universal quality of the box" and was inspired by a cardboard box she found while clearing her late mother's house.
Visitors to Carsten Holler's Test Site were able to try out five giant slides - the largest of which was more than 55m (182ft) long. The artist said slides could help with mental health problems and his work was a "playground for the body and the brain".
Sculptor Doris Salcedo unveiled Shibboleth in 2007 - a hole that ran the full 167 metres of the Turbine Hall. It began as a crack then widened and deepened as it snaked across the room, which the Colombian artist said symbolised racial hatred and division.
French artist Dominique Gonzalez-Foerster's installation imagined Londoners seeking refuge from an unspecified environmental disaster. TH.2058 featured vast sculptures of animals, which towered over the exhibition's 200 yellow and blue bunk beds.
The title of Miroslav Balka's 2009 installation How It Is was taken from work by Samuel Beckett. The vast steel container was essentially a box of darkness that aimed to provoke a range of sensory and emotional responses in the visitor.