Within a few weeks Bruce McLean showed works on paper at one venue, paintings and sculptures at a second, and a new solo performance at a third. Evidently he is one of the most popular artists in Britain. But is he one of the best? That no one ever really says so should come as no surprise. McLean escapes interpretation as well as reprisals; he makes a quip and a run for it at the same time, slipping from one medium to another at high speed, careering through a career in a feisty, mock-macho manner that is somehow crucial to the whole enterprise. The works are neither good nor bad, we conclude;