{"id":130824,"date":"2026-05-11T19:13:59","date_gmt":"2026-05-11T18:13:59","guid":{"rendered":"https:\/\/theluxuryeditor.com\/?post_type=review&p=130824"},"modified":"2026-05-11T19:32:34","modified_gmt":"2026-05-11T18:32:34","slug":"cafe-24-goodwood-art-foundation-review","status":"publish","type":"review","link":"https:\/\/theluxuryeditor.com\/review\/cafe-24-goodwood-art-foundation-review\/","title":{"rendered":"Cafe 24, Goodwood Art Foundation – Review"},"content":{"rendered":"\n

\u2018Please note: 24 is exclusively accessible to visitors with an entry ticket.\u2019 Yes, in order to dine at 24, you need to buy a ticket which sounds counterintuitive to any traditional dining concept. But this, of course, is no traditional dining concept; this is dining with cultural interlude and countryside exploration at its heart. A solid two-hour drive from London, the Goodwood Art Foundation offers a glorious and sprawling seventy-acre site of prime British countryside which is protected from the main road by a lengthy stone-bricked wall topped with surveillance cameras. At its entrance, a smart-suited guard in a smart wooden slatted hut ticks off our names and directs us along an equally smart pebbledash drive to a smart car park. <\/p>\n\n\n\n

Header image Maria Bell photography<\/em><\/p>\n\n\n\n

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A quick walk through an almost perfect woodland and visitors are confronted by 24\u2019s pavilionesque, space ship aesthetic. With its reflective and angular aluminium sides, it could hardly be more of a contrast to the verdant trees and foliage it stands between but it\u2019s a statement design, for sure; something special beckons. Inside, bright vertical op art gleefully greets us. There\u2019s no reception desk but a long corridor lit purely by skylight. Within the dining space, a notable calmness dominates; London is another city. The ceiling is a couple of storeys high so much of the sound dissipates above but even the open plan kitchen feels mollycoddled by a respect for the countryside which envelops it and is emphasised by 24\u2019s large windows. If, inside, the overall illusion is one of convening with nature, there\u2019s also a large outdoor terrace that destroys the illusion and makes it a reality.  <\/p>\n\n\n\n

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We remain inside and sit in the furthest corner from the entrance. A Yayoi Kusama sculpture yellows the greenery of a distant field. Nearer by, shadows flit on walls and cut geometric patterns. We order glasses of Rathfinny Classic Cuv\u00e9e from East Sussex, a crisp and clean cut way to help us dissect the small menu which includes \u2018Nibbles\u2019, \u2018Small plates\u2019 and \u2018Dessert\u2019, except on Sundays when \u2018Roasts\u2019 are added. From the former, the homemade Sourdough is a must; light and fluffy but with a playfully crisp crust and marmite butter, which adds salty but subtle flavour. <\/p>\n\n\n\n

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Our waitress recommends four to six plates, depending on hunger levels. With one exception which we ordered later, the plates arrive at the same time, which presents a small challenge to fit them on the table. The Seabass Crudo swims in a green flecked olive oil and is decorated with a sweet apple and cucumber salsa and three sliced jalape\u00f1os for a little kick. It\u2019s an unusual but delicate and elegant combination. Likewise, the Sussex Fishcake; watercress pesto offers a sour twang to the saltier caper mayonnaise, both of which add succulence to the crispy, fish-laden cake.<\/p>\n\n\n\n

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The Goodwood Lamb Shoulder and the Chalk Stream Trout are the closest the menu has to mains. The former is super tender, slow-cooked and delicate, much like pulled pork in texture. The latter is chargrilled and clean and is accompanied by a bisque sauce. Both come with their own sides but we order more \u2018dedicated\u2019 ones. In visual terms, the Potato Fritter is the meal\u2019s biggest surprise. Orange coloured in an orange sauce, it resembles a cubic asteroid, lands with all the exuberance and excitement of an unidentified flying dessert and is the closest option to comfort food. I stay away from the Charred Cabbage but my friend is very excited by it.<\/p>\n\n\n\n

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The 70% Chocolate Mousse follows in a similar vein to the above; traditional British cuisine with twist. The mousse is heady and silky and smooth and might even have a small slick of caramel on its bottom. On top, a cluster of nut crumbs mingle with honeycomb chunks for a decadent way to finish our meal. We sat down to eat at around 1.30pm and left for a walk around 3pm. Last entry is 4pm and the estate encourages visitors to leave by around 5pm.<\/p>\n\n\n\n

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With only two hours, we were a little tight on time, especially when there\u2019s two small exhibitions to take in. The main gallery is dedicated to deceased American \u2018land artist\u2019 Nancy Holt, best known for her large-scale earthworks and site-specific installations. Including poems and type-writer art, Holt shows communication was way more frivolous and fun back in the \u201860s. There\u2019s a 16mm film about the construction of her famous concrete Sun Tunnels and, most impressively, a specially constructed shiny aluminium fan\/exraction system taken from Holt\u2019s original design. Not only does it look like an integral part of the gallery\u2019s structure but it also expands outside to look like a deliberate part of the exterior. The smaller gallery is devoted to Eva Rothschild who practices \u2018material dissonance\u2019 and often deals in brightly coloured, if not fluorescent objects of both two and three dimensions. Two tapestries have been specially commissioned for the space and were woven locally at West Dean College\u2019s Tapestry Studio.<\/p>\n\n\n\n

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Other artists on display include Lee Ufan, H\u00e9lio Oiticica and Isamu Noguchi. Rachel Whiteread has one piece which looks like slick space age coffins beamed down from another dimension and one which represents her more urban and concrete \u2018negative space\u2019 period. With her erect and flesh coloured sculpture which resembles both an arm bursting from the ground and something(s) more phallic in nature, Rose Wylie suggests there\u2019s more enjoyment to be gained in the countryside than anyone might imagine. Yayoi Kusama\u2019s instantly recognisable sculptures seem a little over-exposed these days but the sight of two large, iconic, yellow and black spotted pumpkins slumped together in a massive English field is an undoubtedly joyous moment. That said, the standout piece for me is a site-specific aural installation by 2010\u2019s Turner Prize-winning Susan Philipsz. Hidden in several trees, loudspeakers burst forth every seven minutes with music and lyrics derived from Elizabethan songs. Words evoke the woods as a site of gathering, exile and refuge, perspectives change and the audio is so crisp that I half expect the singers to reveal themselves. Although uplifting and pure in nature, it also conjures up images of witchcraft and Wicker Man-type horror films.<\/p>\n\n\n\n

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The Goodwood estate may be better known for its horse and car-racing events but owner, Duke of Richmond, is just as keen, if not more so, on art and with his art foundation, he\u2019s amassed an impressive display of internationally renowned artists to prove it. From woods to fields to the occasional quarry or open space, the array of sculptures elevates the already beautiful landscape into a surreal and beguiling one. The sense of discovery, the anticipation for what might lurk around the next tree bark, the happy confusion as to how the sculptures interact with nature renders the experience magical and intriguing and fully engrossing.\u00a0 Add the delightful 24 into the mix and this experience has all the trappings of a perfect day out.\u00a0<\/p>\n\n\n\n

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Contact Details<\/strong><\/h4>\n\n\n\n

Website:<\/strong> www.goodwoodartfoundation.org<\/a>
Address:<\/strong><\/strong> New Barn Hill, Chichester PO18 0QP<\/a><\/p>\n\n\n\n

<\/div>\n \n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

\u2018Please note: 24 is exclusively accessible to visitors with an entry ticket.\u2019 Yes, in order to dine at 24, you need to buy a ticket which sounds counterintuitive to any traditional dining concept. But this, of course, is no traditional dining concept; this is dining with cultural interlude and countryside exploration at its heart. A […]<\/p>\n","protected":false},"author":8,"featured_media":130827,"template":"","categories":[16,1147],"tags":[],"review-type":[],"class_list":["post-130824","review","type-review","status-publish","has-post-thumbnail","hentry","category-england","category-restaurant-reviews"],"acf":[],"yoast_head":"\nCafe 24, Goodwood Art Foundation - Review - The Luxury Editor<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theluxuryeditor.com\/review\/cafe-24-goodwood-art-foundation-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cafe 24, Goodwood Art Foundation - Review - The Luxury Editor\" \/>\n<meta property=\"og:description\" content=\"\u2018Please note: 24 is exclusively accessible to visitors with an entry ticket.\u2019 Yes, in order to dine at 24, you need to buy a ticket which sounds counterintuitive to any traditional dining concept. 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