Richard Wentworth’s work depends on two positions about our relationship to objects. First, that it is governed by an acknowledged grammar of small moves performed unconsciously with things near to hand; second, that it is constantly modified by words. Each of his sculptures exists at an intersection of modes of communication, distinguished for convenience but mingled constantly in daily life. Though Wentworth may draw on it, he is not trying to imitate the vernacular. Indeed, one of his recurring scenes is the rift between high and low, art and life, function and use. These may be contrasted,