Art-obsessed foodies, take note. To mark the 10th anniversary of Sketch, the stylish Mayfair food-and-drink destination conceived by the restaurateur Mourad Mazouz and the celebrity chef Pierre Gagnaire, the British artist Martin Creed is transforming Sketch's Gallery "gastro-brasserie" into Martin Creed at Sketch, the first in a series of artist-designed restaurants for Sketch (which comprises five different restaurants and bars). It is intended to blur the boundaries between art, food, design and function. In Creed's restaurant, everything you sit on, touch and look at seems to be a product of his work. The floor is made of 96 different types of marble (Work No. 1347), and the idea of mismatching is taken to extremes: every piece of cutlery, glassware, chair and table is different (Work No. According to Victoria Brooks, the curator of Sketch's exhibition programs, Creed (who won the Turner Prize in 2001) said he wanted "the whole world" to be in the room. Brooks added that antiques and modern design classics mix with mass-market goods, from places like Ikea, and high-end contemporary design. A team headed by the designer Andres Ros scoured London and Paris for the items. The room's windowless walls have been painted in bold patterns, like a multicolored cross-hatch (Work No. 1345) or nine-inch-wide diagonal black stripes (Work No. The aesthetic is eclectic and colorful, a kind of post-ironic shabby chic - although admittedly low on shabby and high on chic. Mazouz knows how to foster environments that start conversation, and Gagnaire is creating dishes influenced by Creed's art, so there will be plenty to discuss over dinner. Elsewhere in London, there's a new boy in town. He's just over 13 feet tall, bronze, prepubescent and straddles a rocking horse atop a stone plinth in Trafalgar Square. Powerless Structures, Fig. 101″ is the work of the Scandinavian artists Elmgreen & Dragset, and is the latest Fourth Plinth Commission. The 15-year-old program, which commissions art for the square's never-completed Northwest Plinth, has produced works like Marc Quinn's Alison Lapper Pregnant and Antony Gormley's One & Other. The plinth, designed by Sir Charles Barry in 1841, was intended to display an equestrian statue of King William IV, but because of financing problems (some things never change), the statue was never installed. Michael Elmgreen and Ingar Dragset have supplied their version of an equestrian statue, albeit without the traditional connotations of military might. Their "Golden Boy," as the actress Joanna Lumley nicknamed him at the unveiling last week, is at play, a symbol of youthful innocence and optimism that challenges notions of power and masculinity. As Elmgreen said, it is no accident that the boy is slightly effeminate. He may not be a tough guy, but here he is above us, a hero for our times. 101″ will also be around for 18 months. As with previous Fourth Plinth commissions, every viewer can become an art critic by weighing in on the boy and his horse on Facebook and Twitter.