In an installation called Mondrian's Holiday, 1983, Brian Boigon sent up Modernism's most famous hater of green. A white garden chair, a tall highball glass, a folded towel, and a funky portable radio conjured the master in wet swimming trunks, staring into the blue, away from an unpainted paint-by-number landscape drawn in outline on the wall. Although the point was elusive, the piece was good fun, offering what at the time was a welcome tone of address.

The question is whether the welcome is wearing thin. Boigon's new work is fun and irreverent too. He has put together a series of constructions