London

View of “Monira Al Qadiri,” 2017. Photo: Andy Keate.

View of “Monira Al Qadiri,” 2017. Photo: Andy Keate.

Monira Al Qadiri

Gasworks

View of “Monira Al Qadiri,” 2017. Photo: Andy Keate.

Monira Al Qadiri’s playful and engaging show “The Craft” was packed to the brim with conspiracy theory–like clues and references. The first of two rooms was almost completely dark; in the gloom, one made out only a replica of a hamburger spinning over a tall plinth—a piece titled The End (all works 2017). But there was a soundtrack: a male voice reciting a passage about an unspecified genre of architecture that, although supposedly attempting to respond to its terrain and atmospheric conditions, failed to blend into its context. This architecture’s innovative forms made it look like something from outer space.

This narrative, juxtaposed with the rotating burger, was somewhat baffling until one reached the next room, which had been styled as a typical American diner, complete with black-and-white tiled floors, a gum-ball machine, and booths with green seats. Salt and pepper

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