Miroslaw Balka’s black hole at Tate Modern is terrifying, awe-inspiring and throught-provoking. It embraces you with a velvet chill.

The latest commission in The Unilever Series How It Is by Polish artist Miroslaw Balka is a giant grey steel structure with a vast dark chamber, which in construction reflects the surrounding architecture – almost as if the interior space of the Turbine Hall has been turned inside out. Hovering somewhere between sculpture and architecture, on 2 metre stilts, it stands 13 metres high and 30 metres long. Visitors can walk underneath it, listening to the echoing sound of footsteps on steel, or enter via a ramp into a pitch black interior, creating a sense of unease. Underlying this chamber is a number of allusions to recent Polish history – the ramp at the entrance to the Ghetto in Warsaw, or the trucks which took Jews away to the camps of Treblinka or Auschwitz, for example. By entering the dark space, visitors place considerable trust in the organisation, something that could also be seen in relation to the recent risks often taken by immigrants travelling. Balka intends to provide an experience for visitors which is both personal and collective, creating a range of sensory and emotional experiences through sound, contrasting light and shade, individual experience and awareness of others, perhaps provoking feelings of apprehension, excitement or intrigue.

Anyone notice that Miroslaw Balka’s Black Box is no longer on display at the Tate Modern’s Turbine Hall. It was hushed up by the curator and his staff but it has been confirmed to me that some of the people who walked in never walked out again.

Another weird thing is though – some of the people who walked out didn’t walk in?