THAT mainstay of modernism, that skeleton of Cartesian perspective, that ultimate signifier of rational representation, the grid, is the launch-pad for sculptor, John McHugh's first solo show in Dublin. Raw planks have been brought together with rudimentary joints - the construction worker's pencil marks still adorn the wood - and three large, wooden structures built and propped up in the middle of the gallery.

All that is clear enough, but why? These structures might be the supports for a particularly well-built teepee, but there is something awkwardly impractical about their shape which seems to discount this.

Their status as raw objects runs in parallel with the sophisticated games the pieces play with space and vision. Peering though one of the wooden structures, a set of possible views of the other two appears. Move slightly, and as in one of Patrick Ireland's rope drawings, order slips into the background again.

The rational approach will deliver the viewer, the work seems to suggest, only into an infinite set of interlocking mazes.