No, the title of this painting exhibition is not about tempora fugaces, or any such metaphysical obsession. It is about Time magazine and its covers, familiar from news-stand even to people who don't buy or read it. Tom Molloy has simply painted the covers and back pages - folded out flat with, naturally, the back pages on the left - of 52 issues going back to 1996.

These are ranged in four rows, 13 paintings to each of them - by the way, is there any symbolism in the number?

The works can be bought separately but the Rubicon hopes to place the entire 52 together in one collection as a type of installation.

Molloy has a sound realistic technique but the result is not quite trompe l'oeil or even photorealism; the various human heads, in particular, are quite freely brushed, though the "sticking tape" is highly realistic.

This is paint admitting to be paint, not paint pretending to be printers' ink. Inevitably, some people will think of pop art but it isn't quite that either.

Hung together as they are, the pictures blink and blur and set up odd reverberations, rather like a miniature poster hoarding. Pictorial considerations apart, it is grimly ironic to note that many of the back pages are taken up by large Versace ads. And Time doesn't ban cigarette ads as cigarette advertising figures appear prominently.

The front page "personality" heads include those of Clinton, Princess Di, even Jesus Christ twice - religion seems to be thriving via the Internet. In some cases, the lettering is distracting; in others it merges into an abstract design.

Though the idea is ingenious, and the overall effect is invigorating, I would not particularly want to live with these works, either singly or in mass. Even when the treatment distances the material and turns it almost into still life, there is still a dominant flavour of the media and advertising worlds, which are perfectly all right in themselves but garish when hung on one's domestic wall.

But then, that may be precisely another man's, or woman's, meat.