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W hen Kenneth Tynan said "fuck" for the first time on British television, inmy parents just sat there, stunned, mortified, bewildered. They had heard worse, of course, but never on the BBC. It was a joyous moment for a year-old. The show, at London's Serpentine Gallery, opened just days after the royal jubilee and within a whack of a Dirty cock pictures ball from Kensington Palace. Now entering their 60s, Gilbert and George might almost be described as a national institution, if not a national treasure, were it not that such descriptions would diminish them, cauterise their Dirty cock pictures and turn them into respectable buffoons.

Acceptance is the sneakiest way to muffle, if not actually muzzle, the subversive artistic gesture. All this makes one think about the artists' place in the national psyche and about the nation itself. The Dirty Words Pictures were themselves directly concerned with the state of Britain, if not exactly with the state itself.

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Although it is 25 years since these works were produced - they are holding their own little silver jubilee - the world Dirty cock pictures not substantially changed, notwithstanding the greater public tolerance of expletives. There may be a few new insults, but the bathetic and sometimes inscrutable litany of fucks, cunts, wankers, prostitute poofs, cock VDs, sucks and the rest are still part of the city's background noise.

The words do not shock in themselves, either in the context of Gilbert and George's works, or on the street: They are outward signs of a deeper malaise, trouble underfoot.

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The same traffic and the same crowds mill about Eros. The litter's the same, there are the same soiled headlines on trashed newspapers. There are still kids on the corner, and the same deranged and homeless men sleeping it off on the pavements, the armies of office workers coursing and cursing through Waterloo and Liverpool Street.

The world is not much Dirty cock pictures, even if it is notpunk's big year and the dragged-out fag-end of Callaghan's Labour government. You can get a cappuccino on the Hackney Road nowadays, but the streets are still filthy, Dirty cock pictures schools rotten, racism perhaps even more rife - and more insidious - and violence has racked several notches up the scale.

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And the same to one and all intoo. Big, frontal, black and white and red, the Dirty Words Pictures appear aggressive, and the dirty words themselves are undoubtedly aggressive. But look into the window panels and Dirty cock pictures find familiar streets; unchanged, ratty urban gullies and tatty redevelopments. Never mind the dated hairstyles and shop-window Dirty cock pictures, the different boom to the beat, or that Bankside Power Station is now Tate Modern.

These pictures depict a familiar world. It would be a mistake to perceive the Dirty Words Pictures as merely a parade of expletives. Gilbert and George took the world as they found it - not as outsiders, but as inhabitants photographing what went unregarded. Not for them the squalid drama of a Don McCullin Spitalfields war-zone, or a slice of Victorian poverty in the shadow of the NatWest Tower; they took in more prosaic sights, normal inner-city street life, including the graffiti that we habitually edit from our consciousness.

The artists themselves appear in every work - seated at home, standing on the pavement, caught in sharp, theatrical light against darkness. Their cropped portraits stare back, looking to the camera and looking down. They are posed, but nothing else is - George with that slightly dodgy patrician look of his, Gilbert pensive, faintly perplexed and somehow sad.

Tenderness and sadness are not what Dirty cock pictures might expect from these images, but it is the almost overriding feeling.

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They are in the pictures but somehow apart from all the stuff around them, as they are in life. They're inured, like the rest of us. Maybe that's the cause for their air of sadness, the shouldered insults. In one work, Wanker, their red-dyed portraits look out to either side of a small anonymous scribble, written, it seems, to no one.

It says, "You've got a face like a smack in the bollocks. He holds a penis and balls in either hand, while sporting a mammoth set of his own. There's a question mark poking out of his head, like a coat hanger, and his voice-bubble says, "HIC".

This could be Latin, but I think it means he's pissed. He's a sort of drunken Cerne Abbas Giant of the streets, and does not seem angry at all. In fact, he Dirty cock pictures positively gleeful. He is surrounded by traffic, white cars and young black men.

The graffitied figure may be ribald and humorous, but the collision Dirty cock pictures images is somehow vertiginous, churning and relentless.

Wet deserted streets and marchers in sunshine, the word COCK crossed out above and VD in red below, between them the artists shifting on their chairs.

The rhythms of these collaged images; their speed, noise and attack, is at odds with the slowness of the depiction of the artists, who look down or to the side, as if caught in a moment of silence. It is the first time these works have all been shown together in Britain, and they have been loaned from prestigious public and private collections, mostly in Europe and America.

Just as there is more to these works than filthy expletives, so there is more to the artists themselves than their poses, Dirty cock pictures tweedy suits and studied manners. A slightly louche and faintly perverse respectability and what respectability doesn't, somehow, raise questions of the perverse?

Violent and original their work certainly is, but it is also at times haunting. There they go, George the cunt and Gilbert the shit once they had themselves photographed with these words, snipped from paper, glued Dirty cock pictures their suits. They have made their way in the international art world, but are more often found circling the smaller territory of their daily walks and bus rides from Brick Lane to Dalston, from Highbury Corner to Bethnal Green. They are not waiting for Godot, God or anyone else, but they are waiting and watching none the less.

Disguises are important, whatever Auden said about private faces in public places now there was a man with a face like a smack in the Dirty cock pictures. That they might have other lives, or time off from their roles, now seems unthinkable. For decades now they have been living slightly at a tangent, the better to see the world. They decided early on to make it impossible to disassociate their art from their double persona, to put themselves in the picture.

Their many interviews attest to, if not a world vision, a Gilbert and George view. Them looking out, us looking in. Sometimes they seem to have a fling with optimism, but mostly it's the same old painful round and regular habits; the same cheap restaurants and cafes; the same suits.

Keeping up appearances, they keep going with their unfailing but distant courtesies. They are not getting any younger. The world about them changes; nothing changes. Perhaps endurance is what typifies their place in the Dirty Words Pictures, just as it does when you spot them, walking on Kingsland Road among the mess and the graffiti. Their being there is almost enough. View and license Dirty Dick pictures & news photos from Getty Images. Watch Cheese Cock Smegma 7 Days No Clean Smelly Cock Dirty Cock video on - the ultimate archive of free Solo Boy & Gay Cock.

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