It may seem far-fetched to describe a visit to a Conceptual art exhibition as an Alice in Wonderland experience. If the effect of Heinrich Dunst’s show was somewhat dizzying or disorienting, it was not because the artist had somehow given up his practice of translating discourse into (often quite monosyllabic) artworks. Rather, the feeling of having stepped through the looking glass arose from the way in which the exhibition seemed to adhere to a definition of sense that bordered on the nonsensical.

The exhibition as a whole was thoroughly choreographed. It started off with wall works and gradually