The head Turners of art

Turner Prize winners all, they gathered at Tate Britain last night as the gallery unveiled an exhibition of nearly a quarter-century of paintings, video and sculpture previously honoured by the award.

When Malcolm Morley, a London artist who moved to America in his twenties, was named the first winner in 1984, he did not even attend the ceremony.

But Morley, 76, flew in from his home in Long Island, New York, to join the celebrations alongside his successors, including Antony Gormley, Anish Kapoor, Rachel Whiteread and Grayson Perry. Many absentees, such as 2004 winner Jeremy Deller, were missing because of their successful international careers.

Michael Craig-Martin, the artist who taught Young British Artists such as 1995 winner Damien Hirst, said: "It's amazing how much of the work looks really great." His major lament was not having shortlisted artists, who include Tracey Emin and the Chapman brothers, in the retrospective.

Others had their own concerns. Morley, who was born in Highgate and raised in Twickenham, said he was surprised how few paintings there were. But Whiteread, 44, said: "I think it's certainly been a valuable contribution to bringing contemporary art to the forefront of people's cultural agendas, so it's been great for that." The prize has often proved controversial. There were rows over Emin's unmade bed and early video work was not accepted as it is now. Critics such as the Stuckists still protest at the art the prize has favoured.

However, Stephen Deuchar, Tate Britain's director, said the outraged postbag had gradually declined.

Most commentators say the prize has transformed public opinion and done much to encourage debate and understanding just as it was hoped it would.

Declan McGonagle, a curator, said the issue was what happened next. "It's a bit like Tate Modern. It's succeeded so well in what it set out to do. It has opened up a whole new series of questions," he said.

Many have reservations about competitions but as Kapoor admitted: "I'd rather have won than not won. I'm sure it made a difference."

What the artists think of the award

Malcolm Morley, first winner in 1984
It was totally new and fresh in those days and I had no idea that it would spiral into such a national sport. It's on the cutting edge. I'm an American citizen now and it doesn't mean beans there. But I love British artists. They have a great way of reinventing themselves.

Grayson Perry (2003)
I don't think it's the instant ticket to success that people outside it think it is but it's a calling card. It's still very respected. I slightly pooh-poohed it for a while but now, in retrospect, I think it does have a weight more than I imagined.

Rachel Whiteread (1993)
I'm not a great believer in prizes but it's done a lot for getting bums on seats. And the generation of artists from that time have changed the nature of people's appreciation of contemporary art to the point where too many people are going to see it.

Grenville Davey (1992)
I think it's raised consciousness about contemporary work. I think it's got people going, for good or bad. I really enjoyed it. It came as a high point for me.

Anish Kapoor (1991)
On the whole I think it's been good for British art. When you go through the show, it's been quite a good record of what's happened in the last 20 years.

Antony Gormley (1994)
I was pleased to see the show. It holds up well. It feels fresh and relevant. It's very diverse and celebrates the seriousness as well as the energy of British art. It's a kind of self-vindication.