The fine old art of partying

Last night's opening party of the Tate Britain Centenary Development saw hundreds of aficionados, as well as a liberal scattering of party animals, descend on the Millbank gallery to gobble oysters, drink champagne and catch their first glimpse of this major new addition to London's cultural landscape.

A crowd that includes Tracey Emin, Mary Archer, Gillian Wearing, Anton Mossiman, Joan Bakewell, Paul Boateng MP, Julia Somerville, Hanif Kureshi, Howard Hodgkin, Gerald Scarfe and Virginia Bottomley can be described only as broad, but its consensus was narrow - the new Tate Britain is a knockout.

The artists, in particular, keenly appreciated the new space available in the Grade II* listed building.

"It is terrific," said Maggi Hambling: "There is a feeling of space for the first time. They seem to have made room for the art to breathe."

Peter Blake concurred: "It is a better museum than it was, and the works have been hung wonderfully."

David Jaffe, chief curator at the National Gallery, said: "I think the return to natural lighting in these galleries is brilliant."

Michael Palin toured the new Linbury Galleries' inaugural exhibition, Exposed: The Victorian Nude - and emerged a trifle overexposed. "It is a bit like being in a bathhouse," he mused. "After a while you just want to say'no more bottoms, please'."

For the redevelopment, however, he had only praise: "So much more of the collection that was hidden away before can be put on display."

By 11pm, as the crowds streamed out of the new Atterbury Street exit to dance to Talvin Singh's selection next door at the London Institute, Stephen Deuchar, Director of Tate Britain, said: "This is the finest gallery in London - at least it seems that way tonight."

The ultimate test will come tomorrow, when it opens to the public.