Despite its evident relation to Conceptual art, Amikam Toren’s work eludes categorization and stubbornly refuses to be slotted with any current artistic trend. One consistent concern of Toren’s work, the relationship between object and image, is articulated here in the ambivalent status of the iconic signs, painted in acrylic on pulped cardboard, which are attached to boxes for appliances.

The signs themselves—a rendering of a glass for “fragile,” arrows indicating the right way up, numbers above two bars specifying the order of the boxes to be stacked—constitute a general vocabulary for handling

Richard Wilson’s sculptures contrive, at their best, to make a show of the space in which one finds them. In the sense that they do focus one’s attention on the particularities of a space, they are site-specific. Yet in most instances, the idea behind them seems quite a mobile one, suggesting that if the piece were executed in any other space it would work just as well. Following a period of three or four years in which his reputation has grown considerably, Wilson’s latest project has involved setting up concurrent exhibitions in London, Bristol, and Oxford.

The London venue, Matt’s Gallery, is