There is an inherent difficulty, even an incongruity, in attempting to address such a potentially unmanageable topic as trauma within the confines of an exhibition. How can the orderly containment and presentation of a collection of artworks exemplify rupture and disfiguration? The decision by curators Katrina Brown, Fiona Bradley, and Andrew Nairne to restrict themselves to the space within the gallery walls, rather than let the work spill out into the surrounding environment, was largely dictated by the fact that this show is destined to travel. Yet their tightly orchestrated show of recent