Boule to Braid

'Boule to Braid' sounds rather like an all-over waxing process favoured by buff, flaxen-haired Vikings; and indeed it does describe a process of collation that is almost as personal. Richard Wentworth, art's patron saint of the everyday, has selected almost 100 works - from Lisson Gallery director Nicholas Logsdail's own collection, the gallery's own stable of artists and beyond - that effectively accrue into an encyclopedia of Wentworthian terms.

This lexicon includes instances of fantastical bodged contingency, such as Tom Sachs's 'Supreme Allied Commander Moon Rock Box' (2008-9), which furnishes the lunar explorer with distinctly lo-fi tools, alongside moments of iconic material ingenuity, such as Scott Burton's bench made from a single piece of Corten steel. There are things masquerading as other things - Hussein Chalayan's A-line dress made from an airmail envelope, for instance - and materials behaving very much as themselves, as in Hans Haacke's 'Condensation Box' (1963-5). Silliness abounds, as exemplified by Terrence Bond's photographic diptych 'Mum in Kitchen' (1981), where Mum appears to pull the tablecloth from under the dinner service, magically turning plates and wine glasses upside down. But this is abutted by the sombre minimalist instances of Donald Judd and the earnest stillness of Lee Ufan's stones, which, in this rambunctious setting, seem to be proffering one another a chaste kiss.

By so brazenly reflecting its curator's proclivities, 'Boule to Braid' may tread on the toes of a few delicate works, but as summer shows go, it certainly makes for a bracing gallop.