Quite by chance, Swiss artist Nic Hess began the installation of this exhibition on September 11. Given that his work is largely site-specific and created in situ, it was bound to refer to what had happened in New York.
On one wall, the event is claustrophobically unavoidable: Hess has created a vast narrative in coloured adhesive tape, vinyl and household paint, stretching halfway around the gallery. At its centre is an explosion borrowed from Roy Lichtenstein - all outsize flames in a swirling vortex of energy (we might have thought it melodramatic before the attack). Either side, there's a jumble of corporate logos detached from their contexts: a procession of kangaroos (from the Australian road sign, but also the logo for Qantas), a figure skating on ice from a portrait by Raeburn (also the corporate logo for the National Galleries). At one end of this exuberant work, Hess has freed the white figure from the emergency exit sign; he has stepped outside the illuminated box. The liberated figure looks funny, until you think of people heading for those exits in the World Trade Centre, and then it's a deadly, dark detail.
The other exhibits struggle to compete with this piece. But the smaller, quieter works are more subtly reflective, particularly a dot-to-dot drawing lit by ultraviolet light to suggest a starry night sky. There's the clash of subject matter and styles - the Johnnie Walker logo alongside a map of Afghanistan marked with the main cities and airport - but also an evocative echo of those blurry, night-time scenes of US air raids that we have stared at of late, looking for clues.
Less successful is a large-scale piece borrowing the outline and art deco styling of the Royal Yacht Britannia, now moored a few miles from the gallery. Swirls of dark blue loop and swoop, nudging round a corner to form an arm bulging with muscles. Below it, there's a line of plaster-cast dildos framed by a narrow window overlooking the street. Presumably an attempt at a critique of showy, muscular masculinity, this self-consciously naughty brandishing of phallic shapes just feels limply complicit.
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