Odd about the complaints. Because I would suggest even at her most mysterious she is still very much aware of power and (more to the point) the powerless.Went to see Paula Rego @ Tate Britain, knowing nothing about her, and wound up really impressed.
It starts out very abstract/collage-y but becomes increasingly figurative but always with an element of surrealism and grotesquerie.
She painted this when she was 16 I think (note the electric drill)
This is one of her most famous paintings I think, "The Family"
But my favourite stuff was the portraits she did in pastel, which reminded me of both Degas and Lucien Freud (though much more pointedly extreme and grotesque in places)
Interestingly, I read some reviews of the exhibition afterwards and both of them said that the Tate had done her a disservice by emphasising the political/protest aspects of her work. They said that her work is much more mysterious and oblique than that reading suggests, though it certainly contains political elements and a persistent anger directed towards the patriarchal fascist regime of her birthplace, Portugal.
It's just funny how influential those captions can be when you've never encountered an artist before. I was a bit disappointed by the Tate's Rodin exhibition, too, recently – I felt that the captions didn't touch upon any sense of meaning in the art. It was all about process (Which was, tbf, the point of the exhibition).