"Private View" is the sixth and final episode of the third series of the British black comedy anthology television programme Inside No.

Written by Steve Pemberton and Reece Shearsmith, the episode was directed by Guillem Morales and was first shown on 21 March 2017, on BBC Two.

It stars Pemberton, Shearsmith, Fiona Shaw, Montserrat Lombard, Morgana Robinson, Felicity Kendal, Johnny Flynn, and Muriel Gray.

The episode follows a number of people at the launch of Fragments, a retrospective exhibition featuring the work of the late sculptor Elliot Quinn.

The episode lampoons pretentiousness in the contemporary art world, and pays homage to Agatha Christie's 1939 novel And Then There Were None and classic horror films, including Theatre of Blood.

Multiple critics noted that they found the episode's final seconds unclear, but the journalist Rachel Cooke said that such "unlooked-for moments when nothing quite makes sense", serve only to "emphasise [Inside No.

9 was announced in October 2015, with filming beginning in January 2016, at which time Fiona Shaw, Montserrat Lombard, and Morgana Robinson were named as guest stars in the series.

[5] The episode, which was written by Reece Shearsmith and Steve Pemberton and directed by Guillem Morales, starred Robinson as Carrie, Lombard as Bea, Shearsmith as Maurice, Shaw as Jean, Pemberton as Kenneth, Felicity Kendal as Patricia, Johnny Flynn as Elliot Quinn, and Muriel Gray as a reporter.

[7] Neil, a nurse present to assist a visually impaired person, is pushed onto a chair with blades by an unseen assailant, where he bleeds to death.

Carrie, a fame-obsessed former Big Brother contestant, exits a lift to Fragments, a retrospective exhibition of the sculptor Elliot Quinn held in an East London basement gallery.

Maurice, an academic art critic arrives after, and the humourless council health-and-safety worker Kenneth Williams—who has never seen any of the Carry On films starring his namesake—and Irish dinner lady Jean follow.

She advances with an anaesthetic in a syringe as Maurice struggles in the chair, the camera cuts to black as his hand slightly slips out of its restraint.

[8] "Private View" portrays a "knowing self-awareness", with characters directly referencing the episode's source material, including Christie, genre tropes, and the Carry On films.

"[15] Dessau, similarly, praised the artistry and intellect of Shearsmith and Pemberton, describing the episode as "mixing gore with some darkly comic dialogue".

[8] Mulkern commended the cast as "enviable",[9] the freelance journalist Dan Owen described them as the best of the series,[14] and Mellor called them a "delightful collection".

[8] She praised Robinson as "never-not-brilliant" and Shaw as "similarly top-notch",[8] while Rachel Cooke described Shearsmith and Pemberton as "fantastic actors", comparing them favourably to Dick Emery in the way they can reinvent themselves every episode.

[9] Mellor explained the ending by saying that "Maurice must have escaped his restraints and overpowered Quinn's mother, then—spying an opportunity for instant fame and a wodge of artworld dosh—put her heart in formaldehyde and pretended to have masterminded the whole thing.