One of the most refreshing things about contemporary art practice is the way in which it can eschew classification. For the viewer, the challenge lies in disseminating self-referential content which strives to blur the edges between art and anything else you can, or cannot, care to imagine.

Take Alex Walsh's exhibition of 50 photographs. On the one hand, his imagery is essentially conventional - portraiture in the Romantic or classical tradition. On the other, it is the product of a fashion photo-shoot featuring a pensive Damon Albarn look alike. The resulting photographs are easily lost in a sea of glossy magazine covers.

For those of you who come down on the side of the latter, there is still scope to appreciate the artist's presence and discernment in the creation of the artwork. In particular, the arrangement on wall 2 demonstrates some striking compositional arrangements. This selection contrasts well with the serial regularity used to good effect in the other two hangings. The figure illustrates a powerful visual dynamic, as movement and tension - as well as formal concerns of contrasting tone and form - are clearly successfully considered by the artist.

Runs until January 27th